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NEW H O R I 



IN AMERICA 



1985 EXXON 
NATIONAL EXHIB 



Solomon R. Guggenheim 
Museum Library 



NEW HORIZONS 
IN AMERICAN ART 

1985 EXXON 

NATIONAL EXHIBITION 



by Lisa Dennison 



This exhibition is sponsored by 
Exxon Corporation 



Solomon R. Guggenheim Museum, New York 



Library of Congress Cataloging-in-Publication Data 

Dennison, Lisa. 
New horizons in American art. 

Sponsored by Exxon Corporation and held at the 
Solomon R. Guggenheim Museum, New York. 

Includes bibliographies. 

1. Art, American— Exhibitions. 2. Art, Modern— 20th 
century— United States— Exhibitions. 3. Exxon 
Corporation— Art patronage— Exhibitions. I. Exxon 
Corporation. II. Solomon R. Guggenheim Museum. 
III. Title. 

N6512.D38 1985 709'.73'07401471 85-14376 
ISBN 0-89207-050-1 

Published by The Solomon R. Guggenheim Foundation, 
New York, 1985 

© The Solomon R. Guggenheim Foundation, New York, 1985 



ADVISORY BOARD 



STAFF 



The Solomon R. Guggenheim Foundation 

HONORARY TRUSTEES IN PERPETUITY 

Solomon R, Guggenheim, Justin K. Thannhauser, Peggy Guggenheim 

PRESIDENT Peter Lawson-Johnston 

VICE PRESIDENT The Right Honorable Earl Castle Stewart 

Elaine Dannheisser. Michel David-Weill, Carlo De Benedetti, Joseph W Donner, Robin Chandler Duke, Robert M. 
Gardiner, John S Hilson, Harold W. McGraw, Jr , Wendy L-J McNeil, Thomas M, Messer, Bonnie Ward Simon, 
Seymour Slive, Stephen C, Swid. Michael F Wettach. William T. Ylvlsaker 

Donald M Blinken. Barrie M. Damson, Donald M. Feuerstein, Linda LeRoy Janklow, Seymour M, Klein, Denise Saul, 
Hannelore Schulhot 

secretary-treasurer Theodore G Dunker 

Aili Pontynen, Assistant Secretary; Joy N. Fearon, Assistant Treasurer 

DIRECTOR Thomas M Messer 



STAFF 



LIFE MEMBERS 



INSTITUTIONAL PATRONS 



Solomon R. Guggenheim Museum 

deputy director Diane Waldman 
ADMINISTRATOR William M Jackson 



Vivian Endicott Barnett, Curator; Lisa Dennison, Susan B, Hirschfeld, Assistant Curators; Carol Fuerstein, Editor; 
Sonja Bay, Librarian; Ward Jackson, Archivist; Diana Murphy, Editorial Coordinator; Susan Hapgood, Nancy Spector, 
Curatorial Assistants 
Louise Averill Svendsen, Curator Emeritus 

Cherie A Summers. Registrar; Jane Rubin, Associate Registrar; Kathleen M, Hill, Assistant Registrar; Stephanie 
Stitt, Registrar's Coordinator; Saul Fuerstein, Preparator; William Smith, David M Veater, Ani Gonzalez Rivera, Prep- 
aration Assistants; Hubbard Toombs, Technical Services Coordinator; Leni Potoff, Associate Conservator; Gillian 
McMillan, Assistant Conservator; Elizabeth Estabrook, Conservation Coordinator; Scott A Wixon, Operations Man- 
ager; Tony Moore, Assistant Operations Manager; Takayuki Amano, Head Carpenter; David M. Heald, Photographer; 
Myles Aronowitz. Assistant Photographer 

Mimi Poser, Officer for Development and Public Affairs; Carolyn Porcelli, Development Associate; Richard Pierce, 
Public Affairs Associate; Elizabeth K. Lawson, Membership Associate; Shannon Wilkinson, Public Affairs Coordina- 
tor; Linda Gering, Special Events Coordinator, Ann D. Garrison, Development Coordinator; Amy Sephora Pater, 
Public Affairs Assistant 

Agnes R- Connolly, Auditor; Judy A Ornstein, Accounting Assistant; Stefanie Levinson, Sales Manager, Robert 
Turner, Manager, Cafe and Catering; Maria Masciotti, Assistant Cafe Manager; Fred Lee, Assistant Cafe Manager- 
Kitchen Preparation; Robert S. Flotz, Chief of Security; Elbio Almiron, Mane Bradley, Carlos Rosado, Assistant Secu- 
rity Supervisors 

Ann Kraft, Executive Coordinator; Jill Snyder, Administrative Assistant; Faith R Schornick, Assistant to the 
Administrator 

Jean K. Benjamin, Mr and Mrs. B. Gerald Cantor, Eleanor, Countess Castle Stewart, Mr. and Mrs. Barrie M. Damson, 
Mr. and Mrs Werner Dannheisser, William C. Edwards, Jr , Donald M Feuerstein and Jacqueline Dryfoos, Mr. and 
Mrs Andrew P. Fuller, Agnes Gund, Susan Morse Hilles, Mr. and Mrs. Morton L Janklow. Mr. and Mrs. Donald L. 
Jonas, Mr and Mrs Peter Lawson-Johnston, Mr and Mrs Alexander Liberman, Mr and Mrs Irving Moskovitz, Mr. 
and Mrs Robert E. Mnuchin, Elizabeth Hastings Peterfreund. Mrs. Samuel I Rosenman, Clifford Ross, Mr. and Mrs 
Andrew M. Saul, Mr and Mrs. Rudolph B Schulhof. Mrs Evelyn Sharp, Mrs Leo Simon, Mr and Mrs Stephen A. 
Simon, Sidney Singer, Jr, Mr and Mrs. Stephen C. Swid, Mrs. Hilde Thannhauser, Mr. and Mrs Stephen S. 
Weisglass, Mr and Mrs. Philip Zierler 

Alcoa Foundation, Atlantic Richfield Foundation, Exxon Corporation. Robert Wood Johnson Jr. Charitable Trust, Knoll 
International, The Kresge Foundation, Robert Lehman Foundation. The Andrew Mellon Foundation, Mobil Corpora- 
tion, Philip Morris Incorporated, United Technologies Corporation 

Institute of Museum Services, National Endowment for the Arts, National Endowment for the Humanities, New York 
State Council on the Arts 



LENDERS TO THE EXHIBITION 



Phoebe Adams 

Caroline and Stephen Adler, New York 

Adler-Frasca, New York 

Robert Arneson and Sandra Shannonhouse 

Mrs. Joseph Ascher, New York 

Chase Manhattan Bank, New York 

Chemical Bank, New York 

Douglas S. Cramer, Los Angeles 

Mary Sharp Cronson, New York 

Linda and Ronald F. Daitz, New York 

Dannheisser Foundation 

Mr. and Mrs. Gilbert M. Davidson, Clifton, New Jersey 

David Deutsch, New York 

Betsy and Mike Dingman 

Alan Dinsfriend, Boston 

Richard Ekstract, New York 

M. Etcheverry, San Francisco 

Robert A. Hauslohner 

Sari and Jerry Joseph 

Tobi Kahn 

Mark Kloth 

Mr. and Mrs. Franklin Konigsberg, Los Angeles 

Rex Lau 

Christian McGeachy, New York 

Mr. and Mrs. Raymond D. Nasher 

Manuel and Kate Neri, Benicia, California 

Meg Perlman and Doug Garr, New York 

Irene Pijoan 

David P. Robinson 

Margarete Schultz, New York 

Jack and Connie Tilton, New York 

Laila and Thurston Twigg-Smith 

Stephen and Anne Walrod 



Solomon R. Guggenheim Museum, New York 

The Metropolitan Museum of Art, New York 

The Pennsylvania Academy of the Fine Arts, 
Philadelphia 

Roswell Museum and Art Center, New Mexico 

Walker Art Center, Minneapolis 

Grace Borgenicht Gallery, New York 
CDS Gallery, New York 
Dolan/Maxwell Gallery, Philadelphia 
Lawrence Oliver Gallery, Philadelphia 
PPO-W, New York 

Rena Bransten Quay Gallery, San Francisco 
Ruth Siegel Ltd., New York 
Althea Viafora Gallery, New York 



TABLE OF CONTENTS 



Preface and Acknowledgements 

Thomas M. Messer 

Acknowledgements 

Lisa Dennison 

New Horizons in American Art 

Lisa Dennison 



30 


Phoebe Adams 


40 


Anthony-Peter Gorny 


48 


Mark Innerst 


58 


Tobi Kahn 


68 


Mark Kloth 


78 


Rex Lau 


88 


Joan Nelson 


98 


Jim Peters 


108 


Irene Pijoan 


119 


Photographic Credits 



PREFACE AND 
ACKNOWLEDGEMENTS 



Young talent shows, on both national and international levels, have been sporadically re- 
curring components of the Guggenheim's exhibition schedule ever since the 1950s. But not 
until Exxon assured their financial basis in 1978 did they become annual events. New 
Horizons in American Art: 1985 Exxon National Exhibition thus follows within an established 
sequence of periodic assessments in which special attention, alternately focused on the 
American and foreign cultural theaters, is given to the work of artists young in years or at 
least in reputation. Current production is thereby presented to museum visitors and, by way 
of the accompanying catalogues, to a still wider public interested in extending the radius of 
their awareness of contemporary painting and sculpture. Young American Artists (1978), 
79 Artists: Emergent Americans (1981) and New Perspectives in American Art (1983), 
punctuated during alternate years by selections of current British, Italian and Australian art, 
constitute the broad view of new talent that the Exxon contributions have opened up for the 
Guggenheim and its audience during the better part of the past decade. 

Every one of the four American exhibitions, including New Horizons in American Art, has 
displayed its own distinct character, if only because each was entrusted to a different curator 
in order to encourage changing viewpoints within an existing institutional continuity. None- 
theless, certain attributes were common to all four shows. Invariably, the search that even- 
tually resulted in a highly condensed selection required a concentrated curatorial effort: the 
sifting of hundreds of slides provided the basis for repeated visits to scores of studios, after 
which the final decisions could at last be made. Invariably also, the search itself, which 
necessarily yielded many more rejections than acceptances, encouraged the artists whether 
or not they were ultimately included, and simultaneously provided the Museum and its 
curatorial staff with firsthand information not otherwise obtainable. With respect to the final 
result, the media more often than not have found much to argue with, frequently seeking 
in these personal choices a representation of the Museum's ideological position that was 
not in the organizers' minds. It has been important to us, on the other hand, to assure for 
the Museum's permanent collection a number of annual purchases that would in time take 
their place among the valued holdings in the area of contemporary art. The Exxon grants, 
supplemented by help from other Guggenheim benefactors, have made such acquisitions 
possible, and we here express our sincere thanks for this aid. And this year there is again 
much to be grateful for to Exxon for its renewed support of this particular aspect of the 
Museum's activity. 

Lisa Dennison, who selected the nine artists represented in New Horizons in American 
Art, is following in the footsteps of others who, whether as members of the Guggenheim's 
curatorial staff or as guest curators with temporary missions, have previously carried out 
analogous tasks. It is a pleasure to acknowledge her efforts herewith and to thank those 
various staff members, singled out in Miss Dennison's prefatory remarks, who provided her 
with the necessary advice and assistance. 

Thomas M. Messer, Director 

The Solomon R. Guggenheim Foundation 



ACKNOWLEDGEMENTS 



There are many individuals whose support and cooperation were essential to the realization 
of this exhibition First and foremost, I am deeply grateful to Diane Waldman, Deputy Di- 
rector, whose guidance and generous assistance on every phase of this project were in- 
dispensable, and whose past Exxon National and International Exhibitions have served as 
inspiring models for me. I would like to thank the numerous staff members of the Guggen- 
heim Museum for their diligent efforts on the occasion of this show, in particular Lisa Yokana, 
who worked closely and enthusiastically with me on all aspects of the exhibition and cat- 
alogue; Diana Murphy, Editorial Coordinator, for her very thoughtful editing of the catalogue; 
Carol Fuerstem, Editor, for her essential collaboration on the publication; and Stephanie 
Stitt, Registrar's Coordinator, for assembling the show. 

Among the many individuals throughout the country who offered insight and assistance, 
I wish to acknowledge Stephanie Barron, Graham Beale, Julia Brown, Annette DiMeo Car- 
lozzi, Judith Dunham, Howard Fox, Marge Goldwater, Sue Graze, Mary Jane Jacobs, Jane 
Livingston, Marti Mayo, Eric McCready, Robert Murdock, Jock Reynolds, Phyllis Rosen- 
zweig and Karen Tsujimoto. Sincere thanks are extended to the many gallery dealers who 
were extremely helpful, including Rena Bransten, Margo Dolan, Lawrence Mangel, Kurt 
Marcus, Wendy Olsoff, Ann Philbm, Penny Pilkmgton, Ruth Siegel, Clara Diament Sujo, 
Althea Viafora and Michael Walls. 

I would also like to express my appreciation to the public and private collectors who so 
graciously lent to the exhibition. And finally, I add a special note of gratitude to the artists, 
whose enthusiasm and commitment have made the experience of this exhibition such a 
genuinely pleasurable one for me. 

L.D. 



NEW HORIZONS IN AMERICAN ART 



by Lisa Dennison 

Across the nation, there is a resurgence of pride in America. The feelings of pride and the 
prosperity enjoyed by large segments of the population quite naturally touch many aspects 
of contemporary culture, and indeed nourish our performing arts, popular music, film, lit- 
erature and architecture. As the second half of the decade begins, the younger American 
artist, like the general public, seems to be motivated by a strong sense of national identity. 
And this sense of identity is in turn encouraging painters and sculptors to reconsider our 
national artistic heritage. 

The artist population is growing, stimulated by a greatly expanded art audience and a 
booming art market which have focused more attention on museums, galleries and auction 
houses than ever before. Nowhere is the support structure for emerging artists as strong 
as in New York. Galleries are opening at a record pace, in particular in the East Village, 
where, despite the shortcomings of small spaces and a sometimes disconcerting emphasis 
on fashion, there are now many new opportunities for artists to exhibit their work. The 
ramifications are both positive and negative: positive in that much of the work is very fresh 
and exciting; negative because artists are often showing before they have had time to 
develop a resolved body of work. Today's standards of success, fostered by an exaggerated 
star system at the top of the younger artist population, have created a complex set of 
expectations and pressures that surround the emerging artist. Indeed, in her controversial 
book Has Modernism Failed?, Suzi Gablik denounces " . . .an art world transformed beyond 
recognition by material prosperity." She claims that "success and security now play such 
a central role in the American imagination, the inducements of a conformist society are 
proving so great, that even artists have learned to strive along an imposed scale of careerist 
values, mapping out their lives like military strategists ..." and pleads for an art that can 
"reconstitute the moral will."' 

Despite the competitiveness and emphasis on achievement encountered in the current 
New York art world, the city nonetheless offers young artists a great number of opportunities 
for attaining recognition and exposure to the most avant-garde aesthetics. It is not surprising, 
therefore, that in recent years there has been a renewed influx of artists to this city, each 
of whom imports a bit of the spirit of his or her previous milieu. Though this exhibition, for 
example, appears to boast five New Yorkers, only two are natives; the other three, originating 
in California, Minnesota and Pennsylvania, and often making lengthy stops along the way, 
arrived here in 1981 and 1982. 

A wide variety of aesthetic attitudes has prevailed throughout the first half of the eighties. 
Yet the dominant style, Neo-Expressionism, is on the wane. Coming into sharper focus now 
are other forms of expression: among these, figuration, historicism, appropriation, religious 
imagery, abstraction and landscape painting all engage the attention of today's painters 
and sculptors. 

The figure, the primary vehicle of Neo-Expressionist painting, continues to be a powerful 
force, sustained by an apparently insatiable appetite for narrative content in art. It is used, 
however, in a wider range of contexts to convey meaning, to portray extremes of human 



emotion and to comment upon broad areas of contemporary culture. There has also been 
a shift from the personal mythologizmg and intense subjectivity of Neo-Expressionist paint- 
ing to a more politically and socially oriented art that maintains a dialogue between the artist 
and the powerful exterior forces that determine contemporary existence. The potent issues 
addressed range from sexuality to advanced technology to the threat of nuclear annihilation. 
Such an engagement with so many aspects of society has encouraged a style of "appro- 
priation," whereby both the images and image-making strategies draw directly from their 
sources in art history, popular culture and mass media. This idiom has a strong appeal for 
artists who reject what they consider a frustrating quest for originality. Today, appropriated 
imagery is more topical, more contextual than Pop Art and lacks the irony and wit that is 
an important aspect of the commentary made by that movement of the sixties. 

Side by side with a focus on contemporary concerns, artists express their desire to 
establish links between the past and the present and to raise psychological and spiritual 
issues. Consequently there is now a new historicizing tendency that has produced a broad 
crop of "neo-isms" since Neo-Expressionism emerged, including Primitivism, Mannerism, 
Romanticism and Surrealism. Unlike the direct borrowings or blatant quotations of appro- 
priation, the spirit of past styles is infused into the new art form, rather than copied from it. 

Religious imagery and iconography have also invaded much of contemporary art. Altar- 
pieces, reliquaries, shrines, icons and panel paintings have provided new formats which, 
when either simple and unadorned or encrusted with glitzy materials, can be intensely brutal 
or highly precious. Subject matter, from crosses and crucifixions to saints and angels, 
reinforces the religious connotations of much work today. Yet one wonders if there is indeed 
a compelling religious motivation for contemporary art. It is Gablik's belief that "... the 
essential inner attitude is missing — the devotional frame of mind. In addressing this issue, 
of the way signs of ultimate meaning have been devalued by our culture to objects of 
transitory and commercial interest. . . . that we are really addressing a much larger theme: 
the failure, in our secularized age, of the moral and religious impulse. . . . " 2 Whether or not 
the author is right in doubting the sincerity of religious symbols and iconography in current 
art, there definitely is a renewed quest for the expression of spirituality in all genres. Fig- 
uration, landscape and abstraction are vehicles today, as they have been throughout history, 
to express this condition. What is unique now is the increasingly urgent desire to convey 
spirituality in such a variety of contexts. 

Currently, abstraction is steadfastly and intelligently holding its own amidst the barrage 
of figuration, with the organic mode prevailing over the geometric. Despite the stylistic 
diversity within abstraction, there are some common traits that lend a new vitality to the 
genre. Small scale, which can impart a concentrated density, impact and energy to the 
work, is gaining currency among both abstract and representational artists. The Utopian 
vision and reductive modes of the abstract painters and sculptors who emerged in the mid- 
sixties have inspired succeeding generations. However, in keeping with a general trend in 
today's art, younger artists are emphasizing more narrative content in abstraction. They are 



stressing a connection with the real world and are extending allusions, symbols and references. 

Painting is the medium of the moment. Though many artists are working in sculptural 
idioms, there is a preponderance of work that is either wall-related or installation-oriented 
or that incorporates both painting and sculpture and can thus be defined as neither. However, 
painting itself is becoming more sculptural, more object-like. As the scale of much painting 
becomes smaller, artists more frequently frame their works, thus enhancing their object- 
like quality. Additionally, artists are turning to less traditional materials and using encaustics, 
plaster and collage elements to build out the surfaces of the paintings to the point where 
some become high reliefs. For many artists, paint on canvas is no longer enough; their 
forays into more sculptural concerns have encouraged them to work freely in both mediums. 

There is one particular tendency in contemporary American art that deserves to be high- 
lighted. Landscape painting is gaining momentum from coast to coast, and it is worthwhile 
to examine some of the possible causes behind this phenomenon. In general, traditions 
and values that are deep rooted in American society and culture have gained new relevance 
for today's artists. Their attitude is an outgrowth not only of the new positive spirit and sense 
of confidence in America, but perhaps also of the conservative political climate of the past 
five years. It may be propelled as well by the precedent set by the younger generation of 
European artists that came to our attention in the late seventies and early eighties: the 
Italian Transavanguardia and the German Neo-Expressionists draw much of their inspiration 
from the past. For the Italians, their cultural and artistic heritage is inextricably wedded to 
the present; it is an inescapable part of the environment and education of the artist. As 
Diane Waldman wrote in the introduction to the catalogue for the 1982 Exxon exhibition 
/fa//ar? Art Now: An American Perspective, "The recovery of myth, the symbolic meaning 
in performance ... the renewed preoccupation with alchemy are fundamental to even the 
sparest form of expression in recent Italian art. These concerns, deep rooted in the Italian 
heritage and imagination, are neither integral to our [American] culture nor germane to our 
history and, thus, are not central to our art." 3 The concerns of the German Neo-Expres- 
sionists are also grounded in their past — in art, culture, mythology, history and politics, 
and the way that history in particular is transmitted and interpreted. 

Because myth and allegory, which have nourished so much European art, are not a part 
of the heritage of the American artist, the myths and symbols in much of our Neo-Expres- 
sionist painting become so disconnected from their sources that the meanings of the works 
themselves are drained of their power. Many artists are now seeking to substitute for sym- 
bolism a more concrete and tangible reality. What sort of inspiration, then, can American 
artists derive from the past? America's history is about its frontier, its enormous land. Its 
monuments are its natural wonders — the Grand Canyon, Niagara Falls, the Great Lakes, 
the vast forests, mountain ranges, prairies and deserts. Turning to the past or facing the 
present, the prominence of our landscape is inescapable. 

In the nineteenth century, this immense horizon became the horizon of American art; 
landscape painting was the major innovation of that period. Through a portrayal of the 



10 



vastness and grandeur, the isolated, moody and often lonely aspects of nature, landscape 
painting addressed spiritual ideas. It became the prime outlet for a romantic sensibility, 
which was linked to the European Romantic tradition. Also embodied in the concept of 
Romanticism was man's search for meaning and identity within the greatness and sublimity 
of his surroundings. Thus, from the heroic vision and sweeping vistas of the Hudson River 
School to the ensuing mysticism of the Luminists. landscape painting encompassed not 
only the observation of nature but also drama, poetry, metaphysics and morality. 

The notion of nature as a source of spiritual experience became more objectified and 
universal in the early twentieth century. Among the early modernists in America, Marsden 
Hartley, Arthur Dove and Georgia O'Keeffe found in European antecedents a source for 
their own expression. They saw nature as vibrant, alive and immediate, and sought to 
represent it in organic terms. Their reduction and indeed distillation of nature resulted in 
shapes that were highly abstracted from the literal images, yet retentive of vestiges of the 
original forms. Throughout succeeding decades, landscape continued to serve as a point 
of departure for abstraction. Although the locus of inspiration for Abstract Expressionism 
lay in the unconscious, the imagery ultimately suggests landscape. Robert Rosenblum has 
traced the linkages between the Northern European Romantic tradition and Abstract 
Expressionism, stating, for example, that "the genealogical table that can be constructed 
for the erratic configurations and gigantic scale of Still's paintings would seem to lead back 
through the history of Romantic landscape painting. The situation is also the same for much 
of the work of Jackson Pollock, whose images, like Still's, may be abstract but nevertheless 
elicit metaphors within a range of natural, organic phenomena. ..."' The identification with 
nature felt by the Earthworks artists took them from the studio into the actual physical 
landscape: the earth was their palette. Though the finite object and accessibility to the 
viewer were sacrificed, nature became form, medium, content and place for these artists. 4 

We are now at a point where landscape has reclaimed many of its traditional meanings 
and values for younger artists. Landscape today elicits a variety of attitudes and is treated 
in a wide range of styles, mediums and formats. It can be perceived or remembered, top- 
ographical or imaginary. It can be nostalgic, dreamlike, otherworldly or visionary. It can 
evoke the idea or sensation of landscape without having the look of landscape. 

Artists today are not painting America, but their work draws its strength from America. 
The physical qualities of the environment, native traditions and beliefs and contemporary 
culture are inspiring forces for artists now. Throughout the country, artists echo a similar 
refrain: it speaks of the traditional American desire to represent a sense of place. A "place" 
is the product of an encounter between the artist and his or her surroundings. The process 
of experiencing deeply is the catalyst that transforms any physical location into a place. To 
claim a place as his or her own, the artist must isolate the particular qualities of the encounter 
and express them through the medium of art. 

The contemporary artist's concern with place may be symptomatic of the feared loss of 
human values in our increasingly technologized and depersonalized society. In dealing with 



11 



landscape and the natural world, the artist can assert the value of those things in ourselves 
and in our environment that we risk losing. In the past few years, there have been many 
exhibitions devoted to the theme of the apocalypse. 6 If apocalyptic painting portended the 
end of the world, paintings that invoke "place" would seem to make a more affirmative 
statement about the possibility of restoring human values and the sanctity of our environ- 
ment. Further, there appears to be a desire on the part of many artists to make a distinction 
between real and fictive (for example, television and movie) spaces. The flimsiness and 
vulgarity of the shopping malls and fast-food chains that have claimed so much of our 
environment have sparked a yearning for genuine and enduring objects and experiences. 

Artists' engagement with landscape today may also be due to its capacity to mediate 
between figurative and abstract tendencies. With the figurative impulse so strong in art now, 
artists may be reluctant to relinquish imagery drawn from the real world. Landscape retains 
tangible references to reality, yet is an ideal conveyance of abstraction. Thus, younger 
artists are continuing the historical dialogue between abstraction and landscape, and in so 
doing, they establish the parentage of the early American modernists. 

The association of artists today with the Romantic tradition may also account for the 
current appeal of landscape. As mentioned above, one facet of Romanticism is the notion 
of man's search for identity. Equally important, perhaps, is the focus of Romanticism on 
emotional content. The themes of the spiritual landscape and human emotional drama that 
intrigued the painters of the eighteenth and nineteenth centuries have a renewed appeal 
for younger artists. Using imagery pertinent to our own time, they have revitalized Roman- 
ticism to express spirituality and emotional content in their art. 

Four of the nine artists in this exhibition work in a landscape tradition that looks back to 
our American heritage but at the same time is responsive to the mood of the present. Though 
the paintings of Tobi Kahn, Rex Lau, Mark Innerst and Joan Nelson are highly individual in 
mood and meaning, they have in common a departure from more traditional mediums (oil 
or acrylic on canvas) and their work draws strength and beauty from their technical inno- 
vations. Additionally, all four artists speak of their desire to articulate, often metaphorically, 
their intensely personal feelings about nature, reality and art. While others among the group 
do not work specifically within a landscape genre, they do touch upon aspects of natural 
phenomena: the organic forms in Phoebe Adams's sculpture draw direct inspiration from 
nature; Mark Kloth has spoken of his abstract installations as landscapes; and Irene Pijoan's 
primordial figures either literally emerge from stone or are set within highly abstracted land- 
scapes. Jim Peters's figures project a mood of deep introspection and are situated in intri- 
guing and ambiguous interior spaces, and Anthony-Peter Gorny's photographs explore both 
the real world and the world of the imagination: although their work reveals approaches 
different from those of the other seven artists, it is equally compelling in its expression of 
the universal, the timeless and the metaphysical. 

Tobi Kahn received his initial training in photography, and perhaps it is this grounding that 
has enriched his admirable ability to select, order and crop his landscape images until they 



12 



take on a compositional "Tightness ." Working from photographs or from memory, the artist 
strips landscape to its essential core so that it evokes place, always serene and meditative, 
yet also serves as a vehicle for abstraction. These landscapes are about form, color, texture, 
mood; in them, little attention is paid to topographical detail or description. Intuitive adjust- 
ments of forms from smaller to larger scale, and the fluent draftsmanship that defines the 
contours of these forms assure that the works are experienced as deeply by the viewer as 
they are felt by the artist. Gently rolling hills, bulbous or sharply peaked mountains, triangular 
or trapezoidal patches of sea, serpentine rivers and roads are powerful shapes which tightly 
interlock on the surface of the canvas. As shapes, they are at once abstract and archetypal, 
yet in the context of the whole, there is no mistaking their relationship to forms in the natural 
world. 

The ambiguity between abstraction and representation is deliberately cultivated by Kahn. 
The artist is, in fact, a master at subverting traditional expectations. Horizon lines seem to 
sit on the same plane as foreground forms; roads that recede in a Munchian fashion do not 
create the illusion of deep space; bright colors, which usually move forward, are used in 
backgrounds. Color does not conform to its expected associations either, causing us to 
wonder, for example, if the curving pink path in Azba II (cat. no. 29) is a river or a road, an 
enigma that remains unsolved. 

Though the aforementioned pictorial devices may seem to emphasize the paintings' flat- 
ness, this flatness is subverted by a pronounced sculptural quality. The artist's technique 
enhances this volumetric sensation: Kahn prepares his ground with a chalky white acrylic 
polymer, which gives the works a built-up, toothy surface texture. By working his paint in 
one direction up to the boundary of the next form, the artist creates a sculptural ridge which 
simultaneously reinforces the integrity of that form and makes it more volumetric. The frames, 
too, which are conceived as part of the work and are painted in a dark hue that relates to 
the tonalities of the compositions, stress the works' plastic dimension. 

Kahn is a student of Josef Albers's color theories; he believes in the master's statement 
that "In visual perception a color is almost never seen as it really is — as it physically is. 
This fact makes color the most relative medium in art." 7 The manipulation of color for Kahn 
is a deliberate and thoughtful process; the expressive power and poetry of the paintings 
emanate first and foremost from the gentle pulsation of his exquisite close-valued hues. 
The artist painstakingly layers his pigment, working from dark to light or light to dark, some- 
times creating opaque areas of dark colors which are then successively lightened, and 
sometimes rubbing black into lighter zones to impart a resonance and depth. Elsewhere, 
areas of thinly applied washes retain an ethereal translucency. Color is not localized: one 
hue may be subtly rubbed into a neighboring area to reinforce the essential harmony of the 
whole. More recently, the artist has used metallic pigments that allude to natural ores or 
imitate the effect of sunlight on water: these range from golden and coppery earth tones 
to silvery whites and blues to shimmering greens and rich scarlets. Though there is no 
discernible light source in Kahn's works, there is a magical interior luminosity that emanates 



13 



from the white ground and is enhanced by the delicate translucency of his veils of color. 

Sculpture is a natural outgrowth of Kahn's concern with plasticity in his paintings. The 
paintings from the late seventies and early eighties are often so compact and boxy that 
they straddle the line between painting, sculpture and object. Recently, the artist arrived at 
a means of unleashing some of the power and intensity of these works by enlarging his 
scale and by conceiving of sculpture as separate from painting. The sculpture is at its most 
potent in a series of wooden shrines that house smaller figurative statues, as in Brun (cat. 
no. 30). Kahn speaks of searching for contemporary equivalents to ancestral religious shrines 
in these works, and in their nonspecificity and haunting mysticality they communicate with 
the viewer on a spiritual level. 

Like Arthur Dove, whom he greatly admires, Kahn has sought to transcend the temporal 
in his work. He, too, strives to transform nature so that it reflects a spiritual state of mind, 
and in so doing he equivocates between abstraction and reality. Kahn also draws inspiration 
from the formal qualities of the work of the American modernists: one is reminded of Hartley's 
Maine seascapes, in particular the way his ocean and rock configurations interlock; or of 
Dove's organic shapes which fill their shallow landscape background; or of O'Keeffe's con- 
centration on the sensual in elemental natural forms, her celebration of the land as its own 
monument, possessed of an inner pulse. There are strong affinities, too, with Milton Avery's 
eloquent and lyrical landscapes of the fifties, which approach abstraction in their spare, 
simplified forms, elegant line and soft and harmonious palette. Kahn acknowledges other 
important influences as well: Alberto Giacometti, whose exaggerated attenuations of figures 
have affected his own expressive distortions of nature; and the contemporary sculptor Martin 
Puryear, whose reductivist aesthetic, organic forms and subtle handling of color he admires. 

Rex Lau's vision, like Tobi Kahn's, is rooted in nature. Though on the surface Lau's stately 
images seem emblematic — unspecific and generalized — they are in fact explicit forms 
based on the artist's observations of his surroundings in Montauk, on the eastern tip of Long 
Island. One critic relates his discussions with Lau regarding the genesis of the subject 
matter: "The image for The Wind Demons [see cat. no. 42], for instance, came when he 
looked out his window during a storm and saw a cedar tree bowing in the gale. He noted 
that the wind was so fierce that it wouldn't allow the tree to spring out of its bend, in effect 
'freezing' it in its torturous position. It was an epiphanic image, one that burned into his 
mind and which he heightened into a compelling emblem through planar simplification and 
a hieratically presented doubling.' " 8 

The boulders that make up Montauk's dramatic coastline, the peaks of waves and the 
barren trees of winter are images drawn from Lau's environment. These subjects, explored 
singly and in combinations, are stripped to their essence and give structure to the work. 
Repetition of forms, sensitivity to cropping and edge, an insistent frontality and luminous, 
nondescriptive color catapult these paintings into the realm of abstraction. 

The solid, sculptural quality of Lau's paintings is owed in part to the material upon which 
they are executed: carved Hydro-stone bestows an actual three-dimensionality and weight 



14 



on his forms. This jagged and irregular shallow relief is particularly appropriate to the imagery 
of craggy rocks and spiky, menacing trees. Enhancing the works' sculpturality is the elab- 
orate facture of the surfaces: tiny incisions, crosshatchings and other scarring in the Hydro- 
stone create a compelling immediacy, and also absorb and refract light as it dances across 
these enlivened planes. Pushed up to the surface to claustrophobic effect, Lau's forms 
confront the viewer head-on. Though Lau does not frame his works, he often creates a 
framelike border that is either explicit or suggested by the edges of his forms, as in Cape 
Fear and the Deep in the Forest series (cat. nos. 43, 47, 48). These "frames" have an 
important function in terms of restoring a spatiality that is threatened by the forceful forward 
movement of the imagery. 

Lau applies his oil paint in layers, sometimes blending and subtly modulating them, some- 
times retaining a lively brushy quality. In works such as Leaping Without Looking (cat. no. 
46). color is highly saturated. In others, for example Deep in the Forest II (cat. no. 48), Lau 
exploits complementary contrasts of red and green so that each vibrates intensely. And 
where color is subtle and low-keyed, as in Petrified Forest (cat. no. 45), it projects a quiet, 
introspective mood. Lau's forms, though compressed, breathe color and light, like Monet's 
haystacks. His work speaks of color as derived from, but ultimately independent of, nature. 
Through Lau's paintings we share his understanding of the powerful sensations that lib- 
erated color can provoke as optical phenomenon and physical sensation. 

By working in what can loosely be defined as series, Lau is free to explore the shifts in 
meaning, mood and psychological impact created by changes in form, palette and com- 
position. The different pairings of trees in the various versions of The Wind Demons and 
Deep in the Forest, for example, impart to the works an air of fantasy and mystery that 
recalls Metaphysical and Surrealist painting. A similar effect occurs in certain works by 
Kahn, such as Azin I (cat. no. 25). Though neither artist juxtaposes unrelated objects, their 
tree and mountain forms can have a figural presence, a persona that recalls the allusions 
of inanimate forms to human beings in paintings by de Chirico and Magritte. Shifts in palette 
also suggest shifts in time of day, ranging from bright and revealing daylight to mysterious 
and romantic night. The sinister quality of the green and orange sawtooth-edged trees in 
The Wind Demons is tempered in other versions executed in soft, pastel tones of lavenders 
against pink, for example. On the other hand, in Untitled Seascape (Large Pink Wave) (cat. 
no. 44), rendering the sharp, pointed crests of waves in a candied pink does little to mitigate 
the implication of nature's annihilating powers. What this proves is that there are no formulas 
to be applied here — the emotional expression of each work results entirely from the inter- 
action of that particular combination of elements. 

Like Kahn, Lau is concerned with essences and distillations. He, too, shares a spiritual 
kinship with Hartley and Dove. In particular, Hartley's strongly colored bulky forms with their 
ragged edges seem to have inspired Lau. And Dove's deep feelings about nature as the 
wellspring of his images are undoubtedly shared by the young artist. Though Lau's obser- 
vations of nature are extremely personal, their universal qualities are unmistakable. His 



15 



simultaneous truth to nature and to painting is a rare accomplishment that enriches our 
viewing experience. 

Joan Nelson's stark and haunting landscapes are reductive in color and imagery, yet rich 
in nuance and poetry. Unlike Kahn and Lau, Nelson does not strip nature to its essences, 
nor does she celebrate the inherent beauty of forms in the natural world. Her spare com- 
positions emanate a profound sense of desolation; there is an unsettling and inexplicable 
emptiness in these unpeopled environments. 

In 1984, the artist abandoned oil on canvas for egg tempera on plaster or Masonite. 
Though tempera is not a medium used widely by contemporary artists, Nelson has been 
able to coax great subtlety and refinement from this technique by building up thin layers of 
wash. Smooth and glistening white gesso underpainting and the irregular and wavy surface 
of a thin layer of plaster provide grounds on which the artist glazes a narrow but exceedingly 
rich range of monochromatic pigments. A close study of these colors reveals blacks, ochers, 
sepias and rich sienas, and surprising blushes of pinks or oranges in the mottled skies. 
Nelson recently has expanded her palette to include a pale and ethereal turquoise blue 
which reads as a diaphanous film in paintings such as Untitled (cat. no. 56). In 1985, Nelson 
also began using encaustic, either inlaying solid-colored wax to "draw" the image, or ap- 
plying alternating layers of wax and oil paint until the image emerged in its final state. The 
surface quality of the wax, uneven and sometimes pitted or scarred, renders these easel- 
scale paintings tactile and sensuous. 

Architecture is the primary subject of these "scapes." Nelson is not concerned with de- 
scriptive detail, but rather with the formal properties of her subjects and the sensations that 
her minimal and poetic renditions of them evoke. Though the artist generally eschews 
identifying architectural features, the volumes of her forms are often inobtrusively punc- 
tuated by windows, chimneys, balconies and stairways. Nelson's settings are unlocalized 
and isolated from particular contexts. They range from the type of place one might encounter 
in a dream, to images that have a more striking familiarity yet elude definition. The artist 
paints from her imagination, from reality and from photographs, rearranging her sources to 
remove them from the realm of specificity. What is conveyed are generic subjects: we may 
think of barns, industrial buildings, dwellings and walls. Beyond that, the mystery remains. 
The articulation of these forms when transferred into paint is the only reality that ultimately 
concerns us. 

The absence of people in these barren environments raises ominous questions, prompt- 
ing one critic to see the works as having an apocalyptic message. 9 This is perhaps an 
unintended result, not a direct aim of the artist. What seems more important is the concern 
with the simultaneous beauty and ugliness of manmade forms in our environment. Nelson 
approaches her compositions like an abstract painter, setting up a series of formal problems 
which she resolves in the working process. Many of the paintings are extremely minimal in 
their imagery; the artist thus focuses our attention on the juncture of ground and sky, on 
the volumes and angularities of the forms or on the arrangement of lights and darks. In 



16 



others, the creation of a deep space through geometric and perspectival devices is a primary 
concern Nelson's structures are rarely depicted frontally; most often, our perspective is 
from above or below, and the buildings are sited so that we read the corner intersection of 
their two faces rather than their facades. Buildings often jut into the picture plane as dra- 
matically foreshortened wedge-shaped volumes, so that the orthogonal lines of their top 
and bottom edges converge at a vanishing point on the horizon. Indeed, these exaggerated 
raking diagonals, defined by buildings, roads, walls, telephone poles or railway tracks, have 
become a hallmark of the artist's style. 

Like the work of the Precisionist painters Charles Sheeler and Charles Demuth, Nelson's 
architectural landscapes are realistic at base, but controlled by geometric simplification and 
stripped of detail to the point where they become abstract in their impact. Yet Nelson infuses 
her paintings with a warmth and surface richness that removes them from a Precisionist 
aesthetic. We are also reminded of Edward Hopper's depictions of urban and rural America, 
and the silence, detachment and loneliness they exude. The essentially geometric organ- 
ization of his picture planes, his sensitivity to light and the static quality of his images find 
parallels in Nelson's art. However, the poetic evocations of Nelson's mysterious universe, 
and the intermingling of dream and memory with reality are uniquely her own. 

The exquisite landscape paintings of Mark Innerst convey great power and intensity on 
a diminutive scale. The specificity of the images he chooses to record contrasts sharply 
with the unnamed places in Nelson's world. Even his titles reinforce this particulanzation: 
Brooklyn Seen from the East River Park or The Mississippi (New Orleans, LA). Innerst 
either culls his sublets from photographs of his environment — such as the central Penn- 
sylvania landscape of his youth, or the view from his East Village rooftop — or appropriates 
them from sources as diverse as television, medical journals, issues of National Geographic 
and dioramas at the American Museum of Natural History. Though they often retain the 
look of their photographic sources, the paintings are not meant only to be representations 
of external reality; on the contrary, in their complex layering of both technique and meaning, 
they consistently transcend mere observation. 

In the work of Kahn. Lau and Nelson, landscape, while an end in itself, also serves as a 
point of departure for abstract invention. This dialogue between representation and abstrac- 
tion is present in Innerst's paintings as well, but instead of progressing from realistic to more 
abstract, universal images, he reverses the process. His intricate working method entails 
laying an acrylic ground of one saturated color or a geometric pattern of several colors. He 
then builds up layers of translucent oil glaze to achieve a high degree of finish that recalls 
the look of the photographic source. Though the underpaintmg is for the most part obscured, 
portions are allowed to remain visible as specific forms, patches of color or brilliant strips 
of light in the completed work. This separation of form and color refers to the mechanical 
process of printmakmg, a medium in which the artist has been trained. 

Innerst constructs elaborate frames for his works, sometimes incorporating fragments of 
old frames or moldings. These frames, which the artist considers part of the works, often 



17 



double the pieces' sizes. They are not merely artistic conceits; rather, they further develop 
the associations of the images, echoing and enriching the temperament of the works. As 
one critic has written, they "limit the works and reinforce their evocative isolation, diminishing 
them in scale, serving to make them, like Cornellian boxes, places of reverie and contem- 
plation, defined spaces of magic."' 

Innerst imbues even the most banal subject with drama and exoticism. Confronted by 
Brooklyn Seen from the East River Park (cat. no. 24), we might think we are viewing one 
of Canaletto's Venetian scenes rather than the bland industrial horizon of Brooklyn's riv- 
erfront. The expressive painterliness, the intense and fiery orange light, passionate color, 
low horizons and awe-inspiring skies conjure up mystical and otherworldly associations that 
make Innerst an indisputable heir to the Romantic tradition. Moreover, the air of nostalgia 
and threat of change or impending disaster that we perceive in certain works, even the 
gruesome imagery in Untitled (Miscreant) and the landscape of skulls and bones in Cat- 
acomb (cat. nos. 18, 20), refer as well to nineteenth-century Romantic attitudes toward 
nature. 

Yet this work is a curious hybrid of many Romantic sources. Innerst draws upon elements 
of the European Romantic tradition, encompassing, for example, the Barbizon School paint- 
ers' direct study of nature and Corot's more poetic approach. One also sees a fusion of the 
Hudson River School painters' romantic realism based on nature with the Luminists' con- 
centration on the descriptive and expressive qualities of light. There is a pronounced Amer- 
ican quality to Innerst's penchant for flat landscapes with low horizon lines and palpable 
light that recall the work of Sanford Robinson Gifford, John Frederick Kensett and Fitz Hugh 
Lane. In particular, the subjective and dreamlike expression of George Inness's visionary 
landscapes, his intimate conception of nature, painterly handling of form and intensity of 
hue seem pertinent, as do Martin Johnson Heade's highly charged nocturnal skies. 

Innerst makes references to his sources with great deliberateness; indeed this intentional 
historicizing seems part of the cultivated artifice of the whole. But these allusions are sincere, 
stemming from a deeply personal response to his subjects. The artist does not dilute the 
power of his sources by working in a diminutive scale; rather, he reconciles a heroic and 
epic quality with the intimacy and poetry of his own vision. 

Figuration in contemporary art resembles landscape painting in its diversity and the 
extreme degree to which the artists' emotions are a shaping force in the creative process. 
Both Jim Peters and Irene Pijoan employ the figure and place it in narrative contexts that 
are ambiguous and enigmatic, but tantalizingly real. 

Jim Peters s work keeps its meanings mysteriously uncertain through an unusual mixture 
of imagery drawn from the realms of reality and dreams. His private interior landscapes are 
tinged with eroticism and unexplained tensions between male and female. These deeply 
psychological themes center around the image of the female, whom the artist seems to 
view with both sympathy and antipathy. In Against the Grid and Night Cottage (cat. nos. 
61 , 62), it appears that the naked female is being cruelly punished, pressed up against the 



18 



cold tile wall. Yet In Doxology (cat. no. 63) the suggestion of a halo above the still naked 
female's head hints at her deification. Peters insets smaller and equally ambiguous narrative 
panels within many of the larger works. This dislocation of scale is discontinuous with the 
imagery as a whole, and further confounds its meaning. We wonder, for example, whether 
the panel at the bottom left in Untitled (Reclining Figure) (cat. no. 65) depicts a view into 
another room, or provides a clue to the cause of the terrified look on the woman's face. 
Through the use of plexiglass panels Peters increases the tension and erotic, dreamlike 
associations of the works. Painted on both sides and affixed to portions of the canvas, they 
function as windows and thereby add a voyeuristic note, making us feel as if we have gained 
access to a scene that we were not intended to witness. 

Though Peters is allusive in his imagery, he is extremely direct in his technique. His 
paintings frequently incorporate collaged objects, ranging from photographs (often the same 
one is used in different paintings) that either retain their integrity or are painted over, to bits 
of wood, tin and other detritus the artist scavenges in Provincetown. An old sink cover 
becomes a powerful framing element in Against the Grid, and Untitled (Reclining Figure) 
is painted on a splayed shower stall. Often Peters paints on small panels which he then 
groups together to form the final image of the work: this accounts for the irregular contours 
and unusual surfaces of certain pieces and, in some cases, for the dislocations of meaning 
as well. Found objects have also inspired three-dimensional compositions, such as Decision 
and Summer (cat. nos. 59, 60), that are highly simple and direct, yet instilled with the same 
mystery as the monumental paintings. 

Peters frequently uses a triptych arrangement, whose associative link with altarpieces 
cannot be coincidental. Religious undercurrents are found throughout Peters's oeuvre, in 
the contemporary altarpiece format of Untitled (Reclining Figure) — whose subject also 
reminds us of a reclining Buddha; in the modern-day angel as well as the very title of 
Doxology; and in the strange resemblance to a confessional of the enclosure at the lower 
right in The Gift (cat. no. 64). A crucifixion image occurs in a different version of Against 
the Grid and An Italian Honeymoon can be interpreted as a contemporary rendition of the 
Expulsion from the Garden of Eden. 

In paintings such as Doxology we can find references to a few of the many artists Peters 
admires: the decorative tracery of railings against flat planes of color recalls Henri Matisse, 
and the architectonic color structure is reminiscent of Richard Diebenkorn. Though their 
explicit detail and shock effect is relatively reduced, many of Peters's works bring to mind 
the tableaux of Edward Kienholz. Peters's agglomeration of materials from the everyday 
world onto the surfaces of the canvases, and his use of the connotative powers of these 
materials to heighten the meanings of his narratives, certainly hark back to Kienholz's 
chillingly real constructions. Perhaps most important to Peters is the work of Gregory Gil- 
lespie, the American artist whose painstakingly executed realistic paintings possess an 
intense visionary quality. Gillespie's clarity of detail and method of setting elaborate mini- 
ature panels into the surfaces of his paintings have parallels in Peters's work. Further, the 



19 



dreamlike narratives of figures engaged in disquieting confrontations, the unresolved ten- 
sions and the mood of religious allegory are similarly invoked by the younger artist. 

Like Jim Peters, Irene Pijoan depicts private and ambiguous narratives that center on the 
human figure. She has experimented with a wide range of styles and techniques, beginning 
with nestlike sculptures constructed of found objects and progressing to plaster-covered 
pillow sculptures, to expressionistic figurative paintings on abstract shaped pieces of styro- 
foam and later to sculpture in stone, bronze and wax, often embedded with high- or low- 
relief portraits modeled in encaustic. Most recently, the artist has synthesized many of these 
approaches in a striking group of encaustic-relief and oil paintings that draw on both the 
physical immediacy and power of her sculpture and the sensuality, drama and lyricism of 
her paintings. 

The human figure first entered Pijoan's art in the guise of portraiture. Working from pho- 
tographs of herself and of close friends, in these pieces the artist alternates between a 
fresco technique and a modeled-encaustic relief which is sometimes affixed to stone. The 
portraits are rooted in direct, intent observation of the external person. This exterior may 
be subject to expressive deformation: in works such as House Guest (cat. no. 67), Man- 
neristic distortions are applied in the physiognomic rendenng. Yet Pijoan infuses her figures 
with a melodramatic quality as well, so as to emphasize isolation and emotional introspec- 
tiveness. In accordance with her belief that "a face is merely a shell encompassing a million 
thoughts past and future,"" Pijoan imbues these portraits with great psychological depth. 

The artist extended many of the concerns addressed in the portraits in a series of more 
vigorously modeled figures set within exotic and vague terrains. Earth tones make up the 
overall palette of these pieces, and the irregular surfaces, built up with plaster, are lush and 
painterly. The works conjure up strong primordial associations, which are enhanced by the 
primitively carved, bald and naked figures crouched in animalistic poses. The fetal-like 
positions of the figures and the human forms emerging from stone in such works as Mes- 
opotamia and Streams (cat. nos. 69, 70) evoke images of birth and raise questions about 
mans origins. 

Primitivism is deliberately cultivated by the artist, who speaks of her love of paleolithic 
art, in particular the cave paintings, which hold a special fascination for her. It is not sur- 
prising, then, that her enigmatic narratives have the ritualistic overtones that are associated 
with much prehistoric and primitive art, and that the irregular surfaces of her canvases recall 
the uneven topography of ancient cave walls. 

In recent works such as Glacier and Ransom Earth (cat. nos. 71, 72), precisely carved, 
luminous encaustic figures rise in relief from rich grounds of plaster and oil paint. The figural 
elements are hauntingly real as they extend into our domain, yet they are otherworldly and 
ethereal, too. The pale, translucent surfaces of their flesh palpitate with life, and indeed 
become the focal points of the compositions. In Glacier, the highly finished figure is sus- 
pended in a no-man's land between heaven and earth This figure s polished surface creates 
a vital tension with the rawness of the environment and the cruder carving of the other 



20 



figures. Whereas the earlier portraits achieved their expressivity through distortions of fea- 
tures and mien, the full figures, though faceless, are equally expressive in their contorted 
and balletic poses. 

Italian art, from the frescoes at Pompeii to the paintings of the Italian Primitives to the 
Renaissance and Mannerist periods, has provided considerable inspiration for the artist. 
Ransom Earth, like many of Pijoan's works, recalls Giotto in its narrative power, depiction 
of space, the strength and simplicity of the highly plastic forms and the serene mood. Indeed, 
the finely executed Leonardesque figure in the upper right acts in counterpoint to the pre- 
dominant Italian Primitive style of the piece. A similar drawing style prevails in Church and 
Stale (cat. no. 73), and its rich red tonalities evoke the Pompeian frescoes that the artist 
has seen on several trips to Italy. 

The undefined grounds in Pijoan's work lack even so much as references to architecture, 
natural landmarks or any other signs that would give us a clue to time or place. As one critic 
has noted, these works illuminate "states" rather than events. 12 States of being or becom- 
ing, states recalling primitive existence in their emotional urgency, states that relate to inner 
experience and memory are the focus of this artist's imagination and creativity. 

All the artists discussed so far have in some way explored the boundaries between 
painting and sculpture. Phoebe Adams is a sculptor, and though her works seem to indicate 
painterly concerns — in their relationship to the wall, suggestion of calligraphic drawing and 
richly colored patinas — they remain strictly in the realm of sculpture in their conception and 
realization. 

In this decade, the rich tradition of bronze sculpture has provided new impetus for many 
artists. Their search for an expanded range of materials has brought sculptors to reconsider 
the time-honored medium of bronze and to seek ways of investing it with a new vitality. In 
keeping with recent expressionist tendencies in art, sculptors have exploited bronze for the 
expressive possibilities of its form, color and surface texture. Phoebe Adams is one of a 
small number of artists who work exclusively in bronze. In her exploration of the medium, 
she has developed fresh and captivating forms and patinas. Her works are all unique casts, 
and each investigates a new and different set of challenges that she creates for herself. 

Adams's work is abundant in references to the real world, especially to organic and 
biomorphic forms and natural phenomena and processes. Allusions to amoebas and the 
undersea world in trailing tentacles and fronds, to flora and fauna in such works as Pointed 
Trap (cat. no. 1 ), to the flow of water in Headlong Fall, to human organisms and body parts 
in The Nerve Cell and / Can Fear That, Too attest to the works' relationship with the natural 
world. At the same time, however, the pieces are abstract and metaphoric, suggesting 
movement and states of being — opening and closing, sprouting and growing, orbiting and 
gyrating. 

The wall is an essential counterpoint to Adams's forms, and the relationship of the sculp- 
ture to this vertical surface receives vigilant attention. In many works, the point of attachment 
is a primary consideration: the orbit of The World (cat. no. 5), for example, begins and ends 



21 



with the light lapis-colored ball on the wall. This anchor point is all the more important 
because it keeps in check the floating impression created by the piece. Whereas some 
works seem buoyant, others obey the laws of gravity in their orientation. The wall also 
provides a backdrop for the play of shadows; it is activated by these distorted echoes of 
the sculptures' protruding elements. 

Like free-standing sculpture, this work addresses traditional problems of volume, mass, 
balance and proportion. It intrudes into the viewer's space not by sitting on the floor but by 
projecting from the wall, declaring itself emphatically, at first frontally, and then more coyly 
in its irresistible invitation to peer around and within. The artist is extremely sensitive to the 
twists and turns of forms, to angles of projection, to the views of the inside or underneath. 

Adams enlivens her sculptures with a range of variegated colors and textures achieved 
in the casting, chasing and patination processes. She endows some works with a bumpy 
and prickly skin (cat. nos. 4, 9), whereas others are stippled or corrugated (cat. nos. 5, 6). 
The combination of these different textures in the same piece is provocative and inspired. 
Half Laugh (cat. no. 6), for example, sports a pleated upper portion, a midsection that is 
activated by closely packed ridges and a flatter yet subtly modulated lower section that 
recalls the time-worn surface textures of antique artifacts. Indeed, many of the patinas 
generate such archaeological associations. The astounding array of colors the artist achieves 
is, for the most part, that traditionally obtained from bronze, though imbued with great depth, 
complexity and nuance. Golds, greens, turquoises, blacks and rusts predominate. Even the 
surprising reds and whites do not seem artificial, owing partly to the fact that these colors 
are found in the material and not applied to it. Though Adams's work may call to mind Nancy 
Graves's polychromed bronzes, it is very different. Adams does not polychrome her pieces, 
and her hues are rich and deep in contrast to Graves's strident colors. Additionally, Adams 
casts her sculptures whole or in sections, whereas Graves's process is additive, involving 
the agglomeration of casts of found objects and plant materials to form the final image. 

Adams's oeuvre comprises a range of classical to baroque (or what the artist has called 
"eccentric") forms and colors. Songbird (cat. no. 2), for example, recalls a Greek amphora 
in its shape. The reverse "S" curve of this work has an elegant sway, an exaggerated 
contrapposto that is echoed in Half Laugh. The "eccentric" works are often tougher and 
less lyrical; for their impact they depend on spiky and jagged forms, quivering drawings in 
space and great loops of bronze that thrust out from the wall. Whether flat or three-dimen- 
sional, geometric or organic, angular or rounded, the parts of each sculpture are artfully 
orchestrated to achieve a lively rhythm and graceful fluidity. 

Mark Kloth gathers found objects and materials into environmental installations that are 
at once dramatic, spiritual and contemplative. His alteration of his spaces is total, incor- 
porating painting, drawing and light, so that the sum of the piece transcends the meaning 
of the parts. Kloth's background is in performance art, and the theatrical nature of the 
medium is indeed brought to bear in his installations — in their staging, lighting and manip- 
ulation of space. 



22 



In his earliest work, Kloth explored the notion that creative activities and processes focus 
attention on the artist. Physical participation in the work was a responsibility that Kloth 
transferred from himself to the viewer when he began creating installations. The viewer's 
participation — entering and moving through and around the piece — was vital to experi- 
encing the work. In Penumbra, a 1981 installation (cat. no. 33), for example, the artist built 
an igloo-like structure from stacked newspaper "bricks." In a darkened basement, with only 
the igloo and a small cart spotlighted, the viewer was invited to lie face-up on the cart, and 
to pull himself or herself hand over hand by a rope along a track into the igloo. Within the 
solitude of the environment, the viewer saw patterns of diffused light and heard the muffled 
echoes of his or her own voice. Only by approaching the piece in this manner and by entering 
its essential core could the viewer partake of the complete experience. 

The ramifications of this piece are far-reaching within the artist's oeuvre. The architectural 
concept of building by stacking, and the use of ephemeral materials such as paper as 
construction elements, became leitmotifs for Kloth. The igloo in Penumbra conveyed a 
strong sculptural presence, and such central elements, constructed by the artist, were 
essential to subsequent installations as well. The light source, always visible, and the shad- 
ows cast by it also became integral to Kloth's work. 

In Encore, a 1 983 installation (cat. no. 34), the primary sculptural element was composed 
of a cylindrically rolled sheet of copper covered with asphalt; an intricate webbing of thin 
steel strips crowned the work. The process of stacking and arranging these strands to form 
a nestlike web recalls similar processes in nature — the weaving of a bird's nest, for example. 
While most of Kloth's imagery is abstract, it nonetheless retains a referential and symbolic 
element; thus in Encore the nest form was strongly suggestive of a haven or sanctuary. A 
powerful beam of light acted as a directional signal, drawing the viewer to the work's core. 
Attracted by the hallucinatory glow, the viewer walked through a wide chalk ring inscribing 
the sculpture, and as he or she stepped out again and traveled around the "nest," his or 
her track marks replicated the pattern of the steel tracery. Within the circle of illumination, 
the viewer was projected into the work and thus became part of it. The notion of focusing, 
expressed through either the use of light or the placement or juxtaposition of elements, is 
a strong undercurrent that runs throughout Kloth's oeuvre. 

If we were to remove one of the steel members of the central element in Encore, the 
piece would fall apart like a house of cards. This vulnerability is completely antithetical to 
our conception of the properties of steel. In a similar play on antithesis, Kloth confounds 
our expectations by often constructing the walls and ceilings of his installations of newspaper 
covered with black casein — thus employing a fragile material for a structural function. This 
tenuous line between strength and vulnerability, between permanence and impermanence, 
is a dominant concern of the artist. Indeed, his installations are always disassembled ulti- 
mately — the final proof of their ephemerality. 

Kloth considers his work to be a dialogue. There is, to be sure, an intimate interchange 
among parts in his installations. But this dialogue first takes place between the artist and 



23 



his world: Kloth scavenges his environment, collecting those articles that speak to him in 
both an aesthetic and an informative way, such as rusted drainpipes, the core of a baseball, 
a piece of a boiler, a roll of roofing material. The manner in which these manmade materials 
have been transformed through their use, and their revelation of a past appeal to the artist 
He lives with these objects in his work space, and in so doing receives from them suggestions 
for new incarnations. Through simple or complex manipulation and recombinations, these 
articles are transformed so that their abstract qualities rather than referential ones prevail. 

The realization of an installation is an intuitive process for Kloth. In Blindfolds and Pas- 
sages (cat. no. 35), the artist stacked cobblestone blocks in four graduated rows, feeling 
obliged to create a wall at the suggestion of the material. He then thought about movement 
through the wall and the metaphoric meanings of "breaking through," of overcoming life's 
hurdles. Long, thin metal strips resembling hay punctured this wall, and five charred paper 
cylinders straddled it. The resulting configuration was that of a cross, which enhanced the 
spiritual associations of the work. This reference to religion is not unique in Kloth's oeuvre: 
indeed, the central image of many of his pieces has an altarlike character. Color appeared 
for the first time in the artist's work in Blindfolds and Passages, on four panels of highly 
saturated red, green, violet and yellow placed on the four walls. The arms of the cross 
directed the viewer's attention to these "stations," simultaneously diffusing and emphasizing 
its centralized force. 

The introduction of color has had important repercussions in two more recent pieces, 
and indicates a possible direction for the future. In Bridging Paths and Passing Stage, (cat. 
nos. 39, 40), the artist has rubbed an intense chrome yellow into the canvas portions of the 
sculptures, so that the light sources are synonymous with the objects themselves. The 
circular rubbing of the pigment reinforces the theme of "focusing inward" or "honing in" that 
recurs throughout Kloth's oeuvre. The power of these works also rests in their nature as 
discrete objects, and as such they are strongly heraldic, even totemic. Yet the elements of 
chance and intuition are still inherent in the creative process: the metal drainpipes are found 
objects with preexisting forms and functions, but in each work Kloth himself makes the 
canvas into a cone by shaping it and stapling it to the wall. It therefore has no existence 
without the wall, and is as ephemeral as the installation itself. Though separate pieces, 
when installed together in a room Bridging Paths and Passing Stage have a unified impact 
on the viewer. Forced to the center of the room by intense color and the points of the cones, 
the viewer takes over the role of "essential core" formerly reserved for inanimate objects, 
a radical yet entirely logical shift in direction for the artist. 

Kloth's installations partake of an oriental tradition in the serenity and contemplativeness 
of his formal arrangements. The work also invites comparison with that of the Italian Arte 
Povera artists who sought to discover and extol the intrinsic magical worth of the elemental 
forces of nature — earth, air, fire, water, light and minerals. Kloth is also drawn to the 
sensitivity to and manipulation of materials in the work of Joseph Beuys and Anselm Kiefer. 

Kloth's environments are strongly evocative of landscape. We feel that he is seeking to 



24 



replicate a sense of place in his art, to make a record of an encounter between himself and 
his surroundings. To recall the experience of coming to a place, of concentrating on it and 
of the place holding onto us is part of the artist's intention in these installations. Kloth's work 
is at once physical and metaphysical. It retains both purity and clarity of purpose. 

The making of art is for Anthony-Peter Gorny a passionate concern, one that encom- 
passes all aspects of his life. As one critic has so aptly noted, it is a kind of secular religion 
for this artist." Gorny's art is a search for meaning; he believes in the artist's ability to extract 
meaning from what he or she sees and experiences. Yet at the same time he questions the 
possibility of attaining absolute meaning, knowing finally that paradox, inconsistency and 
change are basic conditions of human existence. 

The key (if indeed there is a key) to Gorny's art and thought is contained in his dianstic 
journals. These books are contemporary equivalents of illuminated manuscripts; they are 
magnificent objects, each unique, made by him of his own handmade papers and bound 
with colored endpapers embedded with a glorious array of leaves, flowers and pods. Though 
sometimes embellished with drawings or photographs, the books are mostly |ammed with 
the artist's thoughts, ideas and feelings, either jotted down in note form or elaborated upon 
as prose poems. On these pages, subjects as diverse as literature, art criticism, film, video 
and the artist's own work are explored with uncanny honesty; they are a wellspring for both 
the images and techniques that Gorny uses in his art. 

Gorny's oeuvre comprises drawings, handmade books, lithographs, photographs and 
sculpture; though each is treated as a separate and equally important discipline, the works 
overlap in iconography and style. The lithographs (cat. no. 1 3) display a meticulous balance 
of tone, nuance of texture and intricacy of line. Sometimes the artist prints on both sides of 
translucent Japanese paper, so that the layering of image and meaning takes on added 
complexity and ambiguity. The richness of detail in the lithographs is awe-inspiring. Man- 
nerist distortions in drawing, cryptic mirror writing reminiscent of Leonardo's, ambiguous 
spatial effects, unexpected viewpoints and juxtapositions, art-historical references and a 
wry humor contribute to the idiosyncratic quality of these pictorial diaries. 

References to ecclesiastical art and architecture abound in Gorny's oeuvre. The hand- 
made books, which have painted and carved wood or cast-bronze covers, recall medieval 
manuscripts. The bronze bookcover The Golden Book: The Root of All Evil (cat. no. 14) is 
reminiscent of fifteenth-century Florentine bronze baptistery doors in the way that the bas- 
relief figures emerge powerfully from the metal. A photographic installation entitled Alter a 
Plan of Duccio's Maesta (cat. no. 15) was conceived to replicate the format of the high altar 
of the Cathedral of Siena. Though translated into a modern-day context with themes of 
violence, nuclear destruction and white-collar crime, the spirit of the fifteenth-century mas- 
terpiece is magically preserved in Maesta. The simultaneous monumentality of the whole 
and intimacy of the individual panels of the Sienese source is retained in Gorny's work. So, 
too, is the hierarchical ordering of images (the central panel depicting the Madonna en- 
throned is replaced in Gorny's work with a brutal rape scene), narrative detail and elaborate 



25 



iconography. However, Gorny deliberately neutralizes the topical and violent character of 
his staged scenarios, in his words "cooling off" their reality to the point where they are 
"stillborn." 

The allegorical predella panels at the base of the Sienese altar appear again in a later 
work by Gorny, Transitivity Volumes 7-5 (cat. no. 10). Like the journals, these five large 
bookworks — handmade books encased in large sculptural frames — resemble illuminated 
manuscripts; each is a contemporary book of hours in its wealth of information and rich 
detail. The almost jewel-like front covers of layered rhoplex, pigment and carbon transfer 
are reminiscent of Romanesque art which, though often crudely embellished, achieves a 
high degree of elegance. The ornamented frames, which are cast in polyester resin from 
old frames and feature elaborate bas-reliefs of objects related to the volumes' themes, recall 
the foliated borders in illuminated manuscripts. Installed on a wall with their Predella Diptych 
panels of photographs beneath them (cat. no. 11), they truly become a contemporary 
altarpiece. 

Gorny spent a year studying in Siena, and it is therefore not surprising that Italian art and 
architecture from the late Romanesque period through the present have had a major impact 
on his work. Profoundly influential is fifteenth-century Sienese painting, which the artist 
knows not only from his travels, but also from visits to the extensive collection of the Phil- 
adelphia Museum of Art. The rich narrative quality of this north Italian art, the beautiful and 
somewhat primitive drawing, the realistic — yet not mimetic — qualities and the manner of 
capturing the essence of relationships and gestures are elements that Gorny seeks to 
translate into his lithographs and photographs. 

The photographs that comprise Maesta and the Predella Diptych panels are like small 
theatrical pieces in their composition and imagery. Just as a play can be performed again 
and again, some of these photographs are reused by Gorny in other contexts, such as It's 
Another Thing Altogether, a book that he published in1 978. These tableaux explore personal 
as well as universal images in contrived, Magritte-like situations which the artist stages in 
his studio. They are distillations of many of the thoughts recorded in his diaries, and are 
replete with verbal and visual puns. His props are objects drawn from the real world that 
evoke poetic responses in him. He writes in his journal of the possibility of a sacra con- 
versazione between these inanimate objects. 

There is an intense Surrealist quality to these photographs, and to some of the lithographs 
as well. The Surrealists' random and unexpected juxtapositions of objects are paralleled in 
the juxtapositions of images within Gorny's individual photographs, and in the combination 
of photographs into a larger oeuvre. Gorny insists, however, that despite the seeming ran- 
domness, the connections that exist in and among these works are strong and rational. 
Another goal of the Surrealists was to replenish poetic imagery through the illogical juxta- 
position and combination of words. The interplay of language and narrative in Gorny's work 
has a precedent in this Surrealist tradition. His oeuvre is filled with marvelous aphorisms 
of his own invention ("Nuclear Burns/Litter. Which is Worse, Paper or Plutonium?") that 



26 



cause us to rethink the meaning of words or of the visual images to which they are attached. 

The Surrealists believed the unconscious to be an essential source for art and life. Gorny 
differs slightly in this regard as his ideas, while often recorded in his writings in a stream- 
of-consciousness fashion, are not probed in dreams, but in a conscious and deliberate 
search within himself. His images are very much grounded in visual events and in the 
associations they trigger, and in art-historical sources ranging from Classical to Byzantine 
to Romantic. Gorny stresses that it is the spirit of past art, not the look of it, that he seeks 
to capture. 

The techniques Gorny employs reinforce the Surreal quality of his photographs. Picto- 
grams, double images, sharp contrasts of light and dark, inverted perspective, altered scale, 
stop-action photography, blurring, scratched negatives and extreme points of view are pro- 
vocative devices with which he challenges our perceptions. Additionally, the grainy textures, 
soft focus and selenium toning which endows the prints with a warm, purple cast impart a 
romantic, nineteenth-century aura to the photographs. 

Gorny's art, like Joseph Cornells, is acutely personal. The complex layering of imagery 
and meaning in the young artist's work also recalls the mystery and metaphor found in the 
American Surrealist's shadow boxes and collages. Like Cornell, Gorny has made his art 
his world, and his art becomes a poetic theater, reflecting that world. 

Though the nine artists in this exhibition do not represent an identifiable movement or school, 
one feature is salient when we consider them as a group That is their extraordinary achieve- 
ment in reconciling often opposing concerns in art: painting and sculpture, abstraction and 
representation, the secular and the spiritual, the private and the universal. These artists 
often turn to the art of the past for stylistic and technical inspiration. Yet in looking toward 
the future, they all achieve a clarity of expression that signals exciting new directions on 
the ever-changing horizon of American art. 



27 



Footnotes 

1 . Suzi Gablik, Has Modernism Failed 9 , New York and 
London, 1984, pp. 59, 60, 127. 

2. Ibid., p. 92. 

3. Diane Waldman, Italian Art Now: An American 
Perspective, 1982 Exxon International Exhibition, exh. 
cat. New York. 1982. p. 9. 

4. Robert Rosenblum, Modern Painting and the Northern 
Romantic Tradition: Friedrich to Ftothko, New York, 1975, 
p. 203. 

5. Diane Waldman, "New Dimensions/Time-Space: Western 
Europe and the United States," in Guggenheim 
International Exhibition 1971, exh. cat., New York, 1971, 
p. 16. 

6. In her foreword to the catalogue The End of the World: 
Contemporary Visions of the Apocalypse, The New 
Museum of Contemporary Art, New York, 1984, p. 9, Lynn 
Gumpert cites the following shows in New York alone: 
7984 and Atomic Salon, Ronald Feldman Fine Arts; 
Apocalyptic Visions, Galene Bellman; The War Show, Fine 
Arts Center. State University of New York at Stony Brook; 
and Dangerous Works, Parsons School of New York. 

7. Josef Albers, Interaction of Color, New Haven and London, 
1971, p 1. 

8. Stephen Westfall, introductory essay to Rex Lau: Paintings 
and Works on Paper, 1983-1985, exh. cat.. New York, 
1985, n.p 

9. Vivien Raynor, "Joan Nelson," The New York Times, 
February 8, 1985, p. C32. 

10. Richard Martin, "Mark Innerst," Arts Magazine, vol. 59, 
October 1984, p 2 

1 1 . David Bell, "Santa Fe Notes," Artspace, vol. 6, Fall 1982. 
p. 62. 

12. Christopher French, "Unions of Paint and Form.'/Artweefc, 
vol. 15. May 19, 1984. p. 5. 

13. Edward J. Sozanski, "Pursuing Art as a Kind of Secular 
Religion." The Philadelphia Inguirer, May 15, 1984, p. 4E 



28 



CATALOGUE 



PHOEBE ADAMS 



Statement by the artist 

An Example: I had a personal loss; one com- 
mon to most of us, but I didn't have a name for 
the feeling of that experience. I made an 
image of flying wings that don't work, pro- 
pelled by a symmetrical form that also no 
longer works; it sags. The sculpture con- 
notes its own history. 

There have always been crevices of west- 
ern art that are not concerned with any brand 
of heroicism. This is my lineage. I look at the 
outside world for particulars, for specifics 
that are clues. Similarly, I look at my internal 
landscape. Movement, form, growth, color, 
these parts of natural structures exist out- 
side our conceptions of the picturesque and 
political usefulness. That these sculptures 
are informed by the oddities of nature is nec- 
essarily true because that is what I see. The 
urgency to make an object is to give an ac- 
count of unnamed experiences, the unspeak- 
able feelings gleaned from peripheral vision. 



Selected Group Exhibitions 

Philadelphia Art Alliance, Art in Boxes, May 21 -June 
24, 1979. Catalogue 

Moore College of Art, Philadelphia, Opens Friday, 
April 1980 

College of Art, Maryland Institute, Baltimore, Sculpture 
80: National Invitational Show, June 1 980 

Stockton State College, Pomona, New Jersey, in 
conjunction with Marion Locks Gallery, Philadelphia, 
Regional Trends in Sculpture, October 26-November 
13,1981 

Philadelphia Art Alliance, S/300, June 1 6-July 31 , 1 982 

Morris Gallery. Pennsylvania Academy of Fine Arts 
Museum, Philadelphia, Sophia's House, January 14- 
February 28, 1 983. Catalogue with text by Judith Stein 

Matthews Hamilton Gallery, Philadelphia, Small Scale 
Sculpture, February 1984 

Institute of Contemporary Art, University of 
Pennsylvania, Philadelphia, Made in Philadelphia 6, 
March 1 0-April 6, 1 984. Catalogue with text by Ned 
Rifkin 

Lawrence Oliver Gallery, Philadelphia, June 21 -August 
11,1984 

Tyler School of Art, Temple University, Philadelphia, 
Faculty Exhibition, February 12-March 7, 1985 



Born in Greenwich, Connecticut, May 1 , 1 953 

Philadelphia College of Art, B.F.A., 1976 

Graduate Assistantship, State University of New York, 
Albany, 1976-78 

Skowhegan School of Painting and Sculpture, Maine, 
1977 

State University of New York, Albany, M.A., 1978 

Visual Art Fellowship, Pennsylvania Council on the 
Arts, 1982, 1985 

Associate Professor, Tyler School of Art, Temple 
University, Philadelphia, January 1985-present 

Lives and works in Philadelphia 



Selected One-Woman Exhibitions 

Nexus Gallery, Philadelphia, February 3-28, 1981 

Lawrence Oliver Gallery, Philadelphia, September 
21 -October 20, 1984 

Grace Borgenicht Gallery, New York, April 26-May 21 . 
1985 



Selected Bibliography 

Edward J. Sozanski, "Art: More New Talent at the 
I.C. A.," The Philadelphia Inquirer, March 13, 1984, 
p.7F 

Thomas Gartside, "Made in Philadelphia 6." The New 
Art Examiner, vol. 1 1, June 1984, p. 18 

Edward J. Sozanski, The Philadelphia Inquirer, 
September 27, 1984, p. 6E 

Miriam Siedel. The New Art Examiner, vol. 12. 
February 1985. p. 57 



30 




Pointed Trap. 1983 

Bronze with patina, 15 x 13x5'/2" 

Collection The Metropolitan Museum of Art. New 
York 



31 




Songbird. 1 983 

Bronze with patina. 1 5 x 1 2 x 9 Vi?" 

Private Collection 



32 




3 Spanning Time. 1983 

Bronze with patina, 26 x 26 x 19" 

Courtesy Lawrence Oliver Gallery, Philadelphia 



33 




Wink. 1984 

Bronze with patina, 19x16x16" 

Collection Betsy and Mike Dmgman 



34 




5 The World. 1984 

Bronze with patina, 10x14x6" 
Private Collection 



35 




6 Half Laugh. 1985 

Bronze with patina. 39 x 24 x 13" 

Collection The Pennsylvania Academy of the Fine 
Arts; Henry D. Gilpin Fund 1985 



36 




7 That's Enough. 1985 

Bronze with patina, 25 x 1 9 x 1 5" 

Courtesy Grace Borgenicht Gallery, New York 



37 




What Remains. 1985 
Bronze with patina, 34 x 41 x 29" 
Collection Mr, and Mrs. Gilbert M, Davidson, 
Clifton, New Jersey 



38 






r- 




9 Sweeping View. 1985 

Bronze with patina. 38 x 40 x 1 6" 
Collection of the artist 



39 



ANTHONY-PETER GORNY 



Statement by the artist 



SYMPATHY OF ALL THINGS 

We were here We did this 
Once what the Ancients called 
"Sympathy of all things" 

Some twilight objects here 
inanimate really 
Live with us intimate 
animated beings 
charged intelligent sincere 

Vested with votive force 
glow surviving time zones 
hope dreamwish dread failure 

Carry on silent subtle 
reflection conversation 
contemplation still 
after our vanishing 
limited memory 

Born in Buffalo, May 3. 1 950 

University of Siena and Istituto del'Arte, Siena, Italy, 
1970-71 

State University of New York, Buffalo, Summers 1 970, 
1971 

State University of New York, College at Buffalo, 
BRA, 1972 

School of Art, Yale University, New Haven, M.F.A., 
1974 

Associate Professor of Art, Tyler School of Art, Temple 
University, Philadelphia, 1974-82 

Faculty Member, Graphics Department, Pennsylvania 
Academy of Fine Arts, Philadelphia, 1 982-85 

Individual Artist Fellowship, Pennsylvania Council on 
the Arts, 1983 

Artist in Residence, School of Fine Arts, Indiana 
University, and The Echo Press. Bloomington, April 
1983 

Artist in Residence, University of Costa Rica, San 
Jose, January 1985 

Instructor, Pratt Graphics Center, New York, Summer 
1985 

Travels frequently between Philadelphia and Buffalo 



Selected Group Exhibitions 

National Collection of Fine Arts Gallery, Library of 
Congress, Washington, D.C., Twenty-second National 
Exhibition of Prints, September 23-December 8, 1973 

Frednkstad, Norway, Norsk Invitational Print Biennale, 
August 15-October 1, 1974. Catalogue 

Barcelona, Premier International Biennale de Obra 
Grafica, September 28-October 31,1 974. Catalogue 

Pratt Graphics Center Gallery, New York, The Printed 
Quilt, April 10-May 20, 1975. Catalogue 

Albnght-Knox Art Gallery, Buffalo, Thirty-fifth Annual 
Western New York Exhibition, May 9-June 15, 1976. 
Catalogue 

National Collection of Fine Arts Gallery, Library of 
Congress, Washington, D.C., Twenty-third National 
Exhibition of Prints, May 23-September 7, 1 975. 
Catalogue 

Swarthmore College, Pennsylvania, Four 
Photographers, October 1976 

The Brooklyn Museum, New York, 30 Years of 
American Pnntmaking, November 20, 1976-January 
30, 1 977 Catalogue with text by Gene Baro 

Hong-Ik University, Seoul, Forty-eighth International 
Exchange Exhibition, 1976 

Municipal Museum, Cracow, Seventh Cracow 
International Print Biennale, March-April 1978. 
Catalogue 

Alvar Aalto Museum, Jyvaskyla, Finland, Second 
International Exhibition of Prints, June 27-September 
9, 1978. Catalogue 

NAME. Gallery, Chicago, September 7-29. 1979 

New England Foundation for the Arts Visual Arts 
Touring Program, Cambridge, Massachusetts 
(organizer). Re: Pages. An Exhibition of Artists' Books. 
Catalogue with text by Gary Richman. Traveled 
September 1980-August 1981 

The Brooklyn Museum, New York, Contemporary 
American Drawing in Black and White, November 22. 
1 980- January 1 8, 1 981 . Catalogue with text by Gene 
Baro 

Charles Burchfield Center, State University of New 
York, Buffalo, The Art of the Printmaker, November 
1980- January 1981 

The Print Club, Philadelphia, 56th Annual International 
Print Exhibition, December 2, 1 980-January 3. 1 981 
Catalogue with text by Gene Baro and George Krause 

Lerner-Heller Gallery. New York. The Great American 



40 



Fan Show, May 2-June 1 2. 1 981 Catalogue with text 
by Virginia Fabbri Butera. Traveled to Reynolds-Minor 
Gallery, Arlington, Virginia 

The Brooklyn Museum, New York, 22nd National Print 
Exhibition, October 1 -November 1 981 . Catalogue with 
text by Gene Baro 

The Print Club, Philadelphia, 57th Annua! international 
Print Exhibition, November 3-28, 1 981 . Catalogue with 
text by Peter C Bonnell and Alan Fern 

Associated American Artists Gallery, Philadelphia, The 
New Image, October 2-30, 1 983 

The Brooklyn Museum, New York, The American Artist 
as Prmtmaker; 23rd National Print Exhibition, October 
27-December 14, 1983. Catalogue with text by Barry 
Walker 

The Noyes Museum, Oceanville, New Jersey, 
Impressions: Experimental Prints, June 5-September 
16, 1984. Traveled to Institute of Contemporary Art, 
Richmond, Virginia 

Pratt Graphics Center, New York, Prints Ensuite, 
January 1 3-March 3, 1 985. Catalogue with text by 
Andrew Stasik. Traveled to Albany Academy Gallery, 
New York 

Selected One-Man Exhibitions 

Jane Haslem Gallery, Washington, D.C., February 

15-March5, 1977 

Nexus Gallery, Philadelphia, Private, May 8-26, 1979 

Nexus Gallery, Philadelphia, V.V., October 17- 

November8, 1980 

Jane Haslem Gallery, Washington, D.C., New 

Lithographs, May 1981 

Olin Gallery, Roanoke College, Virginia, Photographs, 
September 1 5-October 2, 1981 

Jeffrey Fuller Fine Arts, Philadelphia, Lithographs 
from the B-M-F-V-V Cycle, January-March 1982 

Nexus Gallery, Philadelphia, Votives, February 1982 

Morris Gallery, Pennsylvania Academy of Fine Arts 
Museum, Philadelphia, The Sympathy of All Things, 
May 3-June 1 7, 1 984. Catalogue with text by Judith 
Stein 

Jane Haslem Gallery, Washington, DC, The 
Sympathy of All Things, November 27, 1984-January 
6,1985 

Museo de Arte Costaricense, University of Costa Rica, 
San Jose. January 6-February 1 0, 1 985. Catalogue 
with text by Guido Saenz 



Selected Bibliography 

By the Artist 

It's Another Thing All Together, 
independent publication, Philadelphia, 1978 

On the Artist 

Jean Reeves, "Ten Young Artists in a Show of High 
Quality,'' The Buffalo Evening News, August 17, 1973, 
section II, p. 24 

Nancy Tobin Willig, "Ten Young Buffalonians Show 
Works," The Buffalo Courier Express, August 19, 
1 973, magazine section, p. 5 

David Tannous, "Anthony Gorny Is a Master of Sorts," 
Washington Evening Star, March 3, 1 977 

"Zwyczajny Swiat (Ordinary Life)" (Cracow), Pro/ekt: 
Magazine of Visual Art and Design, vol. 1 24, March 
1978, pp. 29-30 

Maryanne Conheim, "The Art Boom," The 
Philadelphia Inquirer, May 1 5, 1 978, pp. A1 -2 

Ann Werstein, "Crisp Photographs Show Life's Fuzzy 
Edge," Roanoke Times and World News, September 
28, 1980, p. E6 

Jonathan Katz, "Are You Listening?," The Philadelphia 
Bulletin. October 26, 1980, section II, p. 8 

Victoria Donahoe, "A Twin Bill to Make You Doubly 

Glad You Went," The Philadelphia Inquirer, October 

31,1 980, weekend magazine, p. 30 

Richard Huntington, "Preferring Education Over Art," 

The Buffalo Courier Express, December 1 7, 1 980, 

p. C6 

Ben Forgey, "Artists Take a Fresh Look at History," 

The Washington Post, May 29. 1981 , p. C3 

Virginia Fabbri Buttera, "The Fan as Form and Image 
in Contemporary Art," Arts Magazine, vol. 55. May 
1981, pp. 88-92 

John Russell, "American Painters Are Now 
Pnntmakers Too," The Philadelphia Inquirer, 
November 20, 1983, p. H29 

Edward Sozanski, "Pursuing Art as a Kind of Secular 
Religion," The Philadelphia Inquirer, May 15, 1984, 
p. E4 

Vivien Raynor, Three Exhibitions at the Noyes 
Museum," The New York Times, September 2, 1984, 
p. 22 



41 






10 Transitivity Volumes 1-5. 1983-85 

Handbound books of artist-made paper; covers, 
rhoplex and dried pigment on linen on gessoed 
Masonite panels, carbon transfers; frames, cast 
polyester resin 

Volume 1 ; Nature, 56 x 45 x 6" 

Volume 2: Domesticated, Frenzied and Extinct, 
56 x 39 x 6" 

Volume 3: Human, 56 x 45 x 6" 

Volume 4: Human Inventions, Applied Science, 
56 x 39 x 6" 

Volume 5: Principles of Perfection, 56 x 39 x 6" 

Courtesy Dolan/Maxwell Gallery, Philadelphia 



1 1 Predella Diptych. 1 972-76 

2 panels of 22 silver gelatin prints each; each 
panel, 12 x 120"; each print, 5 x8" 

Courtesy Dolan/Maxwell Gallery, Philadelphia 




42 







Igi^&LiiiiaKiniHBi^jgii^^sgaji^ige 



i iHK^iaiiiiiiikiESiara^isaBiiBB 19 ' 



43 



12 What's Going On' 1984 

Verso, graphite on artist-made paper, 38 x 28" 
Courtesy Dolan/Maxwell Gallery, Philadelphia 




Marriage (A.F.I.). 1978-81 



Kisses like handshakes and handshakes as Kisses. 1 978-81 



13 all works on pp. 44-45: 
1978-82 

Lithograph on paper, sheet, 22 V& x I6V2" 
Courtesy Dolan/Maxwell Gallery, Philadelphia 




44 




Polyptych (Why, of course its a cross). 1978-82 




Wh io only some bruises heal? (Unclear Nuclear). 1 978-81 




For Those who still would. 1 978-80 



Paperiace (Broken Halos) . 1 978-82 




45 




1 4 The Golden Book: The Root of All Evil. 1 984 

Bronze bookcover for B-M-F-V- V (Bene Merenti 
Fecit Vivus Vivo [Made well for the deserving, 
those who are alive)), 25 x 19 x 3" 

Collection Robert A. Hauslohner 



46 





BSH^@BlE 




^ $S 



15 After a Plan of Duccio's Maesta. 1981-82 

Arrangement of 51 silver gelatin prints of varying 
dimensions, total 96 x 120" 

Courtesy Dolan/Maxwell Gallery, Philadelphia 



47 



MARK INNERST 



Statement by the artist 

Amidst irresistible technology, artistic hy- 
bridization, and mandatory appropriation, a 
well-considered painting on a single support 
seems as clear and unfettered an expression 
as a person could hope for. 



Born in York, Pennsylvania, February 26, 1957 
Kutztown State College, Pennsylvania, B.F.A., 1980 
Lives and works in New York 

Selected Group Exhibitions 

The City Gallery, New York, Downtown! Uptown, May 
1981 

The Drawing Center, New York, Selections 75, 
September 16-October 28, 1981 

Hallwalls, Buffalo, Fictive Victims, September 18- 
October 1 3, 1 981 . Catalogue with text by Valerie Smith 

The Drawing Center, New York, New Drawing in 
America, January 13-May 1, 1982. Catalogue. 
Traveled to The Sutton Place Museum, London, 
October 5-December 1 2; Galleria d'Arte Moderno 
Dico'ca, Pisaro, Italy, January 22-February 27, 1983 

White Columns, New York, Reallife Magazine, 1982 

The Kitchen, New York, Benefit Show, May 15,1 983 

Grace Borgenicht Gallery, New York, Invitational 
Exhibition, June 1-30, 1983 

Semaphore Gallery, New York, Otherviews, 
September 10-October 8, 1983 

Artists' Space. New York, Selections, October 1 -29, 
1983 

One Penn Plaza, New York, Newscapes. Land and 
City/States of Mind, January 23-May 4, 1 984 

The Museum of Art, Ft. Lauderdale, New Narrative 
Painting: Selections from The Metropolitan Museum of 
Art, February 9-26, 1 984. Catalogue with text by 
William S. Lieberman 

Nature Morte, New York, Civilization and the 
Landscape of Discontent, April 1 -29, 1 984 

Jeffrey Hoffeld Gallery, New York, Little Paintings, May 
1 -June 9. 1984 

Indianapolis Museum of Art, Painting and Sculpture 
Today 1984. May 1 -June 10, 1984. Catalogue with text 
by Helen Ferruli 



The Museum of Modern Art, New York, An 
International Survey of Recent Painting and 
Sculpture, May 17-August 19, 1984. Catalogue with 
text by Kynaston McShine 

Holly Solomon Gallery, New York, The Innovative 
Landscape, May 25-June 23, 1984 

Larry Gagosian Gallery, Los Angeles. An Exhibition of 
Painting and Sculpture from the Lower East Side, 
June16-July21, 1984 

Palazzo Ducale, Gubbio, Italy, New Landscape 
Paintings, June 16-September30, 1984 

Independent Curators Inc., New York (organizer), 
Drawings After Photography, Allen Memorial Art 
Museum, Oberlin College, Ohio, August 28-October 
14,1 984. Catalogue with text by William Olander. 
Traveling through June 1 986 

Florida State University, Tallahassee, Natural Genre, 
August 31 -September 30, 1 984. Catalogue with text by 
Tncia Collins and Richard Milazzo 

Institute of Contemporary Art, Boston, Currents, 
September 6-November 4, 1 984. Catalogue with text 
by David Joselit 

Bucknell University, Lewisburg, Pennsylvania, 
Contemporary Perspectives, October 5-November 25, 
1 984. Catalogue with text by Barry Blmderman. 
Traveled to Sordoni Art Gallery, Wilkes College, 
Wilkes-Barre, Pennsylvania, December 9, 1984- 
January6, 1985 

Museo Rufino Tamayo, Mexico City, Nueva pmtura 
narrativa: coleccion del Metropolitan Museum of Art, 
Nueva York, November 6, 1984-January 4, 1985. 
Catalogue with text by William S. Lieberman 



Selected One-Man Exhibitions 

The Kitchen, New York, May 1-29, 1982 

Grace Borgenicht Gallery, New York, October 3- 
November27, 1984 

James Mayor Gallery, London, May 29-June 21,1 985 



Selected Bibliography 

Kim Levin. "Art Pix," The Village Voice. May 19-25. 
1982, p. 76 

Richard Milazzo, Wedge, pamphlet 6. November 1983. 
n.p. 



48 



Robert L. Pincus. Los Angeles Times, June 22-28, 
1984 

Holland Cotter, "Civilization and the Landscape of 
Discontent," Arts Magazine, vol. 58, Summer 1984, 
p. 40 

Michael Kohn, "Moma: an International Survey," Flash 
Art, Summer 1984, pp. 62-63 

Kim Levin, "Voice Choice," The Village Voice, October 
17-23, 1984, p. 74 

Richard Martin, "Mark Innerst," Arts Magazine, vol. 
59, October 1984, p 2 

Michael Kohn, Flash Art. January 1 985, p. 45 

Ken Sofer [review], ARTnews, vol. 83, January 1985, 
p. 150 

Gerrit Henry, "Mark Innerst at Grace Borgenicht," Art 
in America, vol. 73, April 1985, pp. 204-205 



49 




16 Pennsylvania. 1983 

Oil on wood, two works, each 9% x 9%" 

Collection The Metropolitan Museum of Art, 
Edith C.Blum Fund, 1983 



50 




1 7 Monument to the 20th Division Gettysburg, PA . 
1984 

Oil on acrylic on board, 8% x 6V2" 

Collection Chase Manhattan Bank, New York 



51 





1 8 Untitled (Miscreant) . 1 984 
Acrylic on Masonite, 7 x 4%" 
Private Collection 

19 Peter Lone. 1984 
Acrylic on board, 7% x 7%" 

Collection Douglas S. Cramer, Los Angeles 



52 




20 Catacomb. 1984 

Acrylic on board, 1 0% x 1 9%" 
Private Collection, London 



53 




21 A Night to Remember. 1 985 
Acrylic on board, 13 'A x 14 5 /e" 
Private Collection. Monaco 



54 




22 View of Algiers from New Orleans. 1 985 
Oil on acrylic on Masonite, 10x1 3%" 
Collection Mr. and Mrs. Franklin Konigsberg, 
Los Angeles 



55 




23 The Mississippi (New Orleans, LA). 1 985 
Oil on acrylic on Masonite, 19%x21" 
Private Collection, Los Angeles 



56 




24 Brooklyn Seen from the East River Park. 1 985 
Oil on acrylic on board, 1 7Vi x 21 %" 
Courtesy Grace Borgenicht Gallery, New York 



57 



T O B I K A H N 



Statement by the artist 

The surface always differs from what lies 
within, just as the entrance to a cave appears 
black, but, one step in, reveals a new world. 
My goal is to take that step into the cave, to 
find the hidden form. 

As a photographer I saw the scene as compo- 
sition, without detail, and as a painter I have 
tried to capture that ambiguity between fact, 
memory and imagination. The shapes I have 
chosen are deliberately simplified into 
archetypes of mountain, island, sea and sky. 
Later I may find a human form in the mountain 
and change the mountain to disclose both im- 
ages. So, the actual mountain (the fact) is re- 
membered as an archetype and then recast 
into another form as well. 

Sometimes I add shadows where, in reality, 
none could be cast, to emphasize that land- 
scape can also be read as a three-dimen- 
sional image against a background— much 
like the objects inside the shrines. The paint- 
ings are then both landscapes, referring to 
reality, and composites of free-floating 
forms, otherworldly and seductive in their al- 
lusiveness, their suggestion of something 
you think you know. They are meant to evoke 
a place you once visited but can no longer 
quite recall, remote as dreams. 

Born in New York, May 8, 1 952 

Tel Aviv University, 1970-71 

Travels extensively in Eastern and Western Europe, 
Asia. Australia, New Zealand and the Middle East, 
1970-present 

Hunter College, New York, B.A., 1976 

Estell Levy Award for Art, 1 976 

Herman Muehlstein Foundation Graduate School 
Award, 1976 

Internship, Art Program, Pratt Institute, New York, 
1977 



Pratt Institute Fellowship, Brooklyn, 1978 

Pratt Institute, Brooklyn, M.F.A., 1978 

Ad|unct Lecturer, New York Technical College, City 
University of New York, 1 978-85 

Ad|unct Lecturer. Elizabeth Seton College, Yonkers, 
New York, 1979-80 

Artist in Residence, The Hebrew Arts School, New 
York, 1979-present 

Visiting Artist, Mishkendt Sha'Amanim, Jerusalem, 
1985 

Lives and works in Long Island City, New York 



Selected Group Exhibitions 

Naomi Givon Gallery, Tel Aviv, July 1980 

Zolla Lieberman, Chicago, July 1 8-August 28, 1 980 

Schlesinger-Boisante, New York, December 9, 1980- 
January24. 1981 

Queens Museum, Flushing, New York, Annual Juried 
Exhibition, January 3-March 1 , 1981 . Catalogue with 
text by John Perreault 

Althea Viafora Gallery, New York, March 10-Apnl 5, 
1982 

Naomi Givon Gallery, Tel Aviv, September 1982 

Robert Freidus Gallery, New York, The Horse Show, 
May 17-June18, 1983 

Harm Bouckaert Gallery, New York, The Saints, 
September 7-October 8, 1 983 

Oscarsson Hood Gallery. New York, From the Abstract 
to the Image. January 1 0-February 4, 1 984 

Suellen Haber Gallery, New York, Framed, February 
11 -March 10, 1984 

Civilian Warfare, New York, 2500 Sculptors Across 
America, July 12-August 12, 1984 

Althea Viafora Gallery, New York. Small Works. 
September 1 1 -October 2, 1 984 

Studio K, Long Island City, New York, Two Long Island 
City Artists. May 5-June 9. 1 985 



Selected One-Man Exhibitions 

Debel Gallery, Jerusalem. January 7-28. 1978 

Pratt Institute Gallery. New York. February 19-24. 
1978 



58 



Fordham University, New York, March 1 1 -April 1 0, 
1979 

Robert Brown, New York, November 16-December6, 

1980 

Blumberg Harris, New York, December 2-14, 1981 

Althea Viafora Gallery, New York, November 29- 
December 20. 1 983; October 1 6-November 8, 1 984 

Bernard Jacobson Ltd., Los Angeles, April 23-May 28, 
1985 



Selected Bibliography 

Michael Brenson, "Art: Portraits of Artists as Seen by 
the Artist," The New York Times, December 1 6, 1 983, 
p. C30 

Douglas Dreishpoon, "Tobl Kahn," Arts Magazine, vol. 
58, January 1984, p. 7 

Grace Glueck [review], The New York Times, 
November 2, 1 984, p. C25 

Douglas Dreishpoon, "Essence of Vision: The Art of 
Tobi Kahn," Arts Magazine, vol. 59, January 1985, 
pp. 81-83 

Susan A. Harris, Arts Magazine, vol. 59, January 
1985, p. 40 

Meg Perlman, ARTnews, vol. 84, April 1985, pp. 143- 
144 

Kristine McKenna, "The Art Galleries," Los Angeles 
Times, May 3, 1 985, part VI, p. 1 5 



59 




25 Azinl. 1983 

Acrylic on board. 27 x 33V2" 
Private Collection 



60 




26 Tagir. 1984 

Acrylic on board, 28 x 36" 
Collection Mary Sharp Cronson 



61 




27 Gutta. 1984 

Acrylic on board, 27 x 35" 

Collection Christian McGeachy, New York 



62 







■^HBH 



28 tea//. 1984 

Acrylic on canvas mounted on wood, 48 x 73 Vz" 
Collection Solomon R. Guggenheim Museum, 
New York 
84.3213 



63 




29 Azball. 1984 

Acrylic on canvas mounted on wood, 75 x 59" 
Courtesy Althea Viafora Gallery, New York 



64 




30 Brun. 1985 

Acrylic on wood, 21 x 1 1 x 9" 

Collection of the artist; courtesy Althea Viafora 
Gallery, New York 



65 




31 Giro III. 1985 

Acrylic on canvas mounted on wood, 60 x 96" 
Collection Linda and Ronald F. Daitz, New York 



66 




32 Rema. 1985 

Acrylic on board, 54 x 39" 

Courtesy Althea Viafora Gallery. New York 



67 



MARK KLOTH 



Statement by the artist 



My work is my voice. 
I find my voice through my work. 

Born in Minneapolis, August 26, 1954 

Arizona State University, Tempe, B.F.A. (Sculpture), 
1978 

Graduate Assistantship — Sculpture, Virginia 
Commonwealth University, Richmond, 1979-81 

Virginia Commonwealth University, Richmond, M.F.A. 
(Sculpture), 1981 

Lives and works in Brooklyn 
Selected Group Exhibitions 

Scottsdale Center for the Arts, Arizona, First Annual 
Traveling Box Show, March 1976, Traveled to Arizona 
State University Gallery, Tempe 

University of Colorado, Boulder, Xerox, Xerox, Xerox, 
February 15-March 15, 1977. Catalogue 

Phoenix College, Arizona. Invitational Sculpture 
Exhibition, March 15-April 15, 1977 

Mathews Center Gallery, Arizona State University, 
Tempe, First Annual Wood-in- Art Competition, 
September 25-October 23, 1977 

University of Arizona Gallery, Tucson, Arizona Tri- 
University Invitational Traveling Exhibition, November 
1 3-December 4, 1 977. Traveled to Northern Arizona 
University Gallery, Flagstaff, December 14, 1977- 
January 1 5, 1 978; Mathews Center Gallery, Arizona 
State University, Tempe, January 25-February 1 

Yuma Center for the Arts, Arizona, Papermaking 
Invitational, 1 978 

Proposal Gallery, Baltimore, Black Boards, July 10-30, 
1980 

Anderson Gallery, Virginia Commonwealth University, 
Richmond, Five Artists in Richmond, 1 980 

Siegel Contemporary Art, New York, Nocturne, 
September 13-October 1, 1983 

General Electric Company, Fairfield, Connecticut, 
Clothes, 1983 

P.S.1 , Institute for Art and Urban Resources at The 
Clocktower, New York, 34; 83-83, January 12- 
February 12, 1984 

Condeso Lawler, New York, Fall Show, September 
8-29,1984 

Ruth Siegel Ltd., New York, Salvo, September 1 1-29, 
1984 



Selected One-Man Exhibitions 

Fine Arts Gallery, Arizona State University, Tempe, 
Salvage, March 1976 

1116 South Ash, Tempe, Arizona, performance. 
Installed: An Installation, October 23, 1 977 

Fine Arts Gallery, Arizona State University, Tempe, 
performance, Three Days in a Strapped Room, 
November 20-22, 1977 

Fine Arts Gallery, Arizona State University, Tempe, 
performance, In Tight: Strapped in a Mattress, 
December 9, 1977 

Faculty Parking Lot, Arizona State University, Tempe, 
performance, Suspension: Fifteen Feet in the Air, May 
15,1978 

College of Art, Maryland Institute, Baltimore, 
performance, Point/Void, October 1 6, 1 978 

1 708 East Main, Richmond, Virginia, installation, 
Penumbra, March 6-30, 1981 

1 708 East Main, Richmond, Virginia, performance, 
Echo, March 22, 1981 

Anderson Gallery, Virginia Commonwealth University, 
Richmond, installation (M.F.A. thesis exhibition). Dead 
Man's Hand, April 30-May 15, 1981 

PS. 1 , Institute for Art and Urban Resources, Long 
Island City, New York, installation, Monument and 
Moment, October 17-November 17, 1982 

PS. 1 , Institute for Art and Urban Resources, Long 
Island City, New York, installation, Encore, January 15- 
February 15, 1983 

Siegel Contemporary Art, New York, installation, 
Blindfolds and Passages, March 30-April 23, 1 983 

PS. 1 , Institute for Art and Urban Resources, Long 
Island City, New York, installation, Stations of 
Temperament, October 
1 -November 1, 1983 

The New Museum of Contemporary Art, New York, 
installation, Blind Migration. . . Waves at Bay, 
December 9, 1983-January 8, 1984 

Ruth Siegel Ltd., New York, Works, February 20-March 
9, 1985 

Selected Bibliography 

Ellen Lee Klein, "Arts Reviews," Arts Magazine, vol. 
57, June 1983, p. 44 

Grace Glueck [review], The New York Times. March 1 , 
1985, p. C24 



68 




33 Penumbra (detail). 1981 

Installation, 1708 East Main, Richmond. Virginia 
Canvas-and-aluminum cart, newspaper bricks 
stacked over a steel frame, steel track and nylon 
rope 



69 




34 Encore. 1983 

Installation, P.S. 1 , Institute for Art and Urban 
Resources, New York 
Casein, chalk and oil on newspaper walls; 
asphalted copper sheet and steel 



70 




35 Blindfolds and Passages (detail). 1 983 

Installation. Siegel Contemporary Art, New York 
Casein and dry pigment on newspaper walls; dry 
pigment, graphite, wax and polyurethane on 
Homosote tiles; granite, steel and paper 



71 




36 Stations of Temperament. 1 983 

Installation, PS. 1 , Institute for Art and Urban 
Resources, New York 

Casein and dry pigment on newspaper walls; 
acrylic tape on concrete, burned fabric, asphalt 
on copper, rubber-coated wire 



72 




37 Stations of Temperament (detail 



73 




74 




38 Blind Migration. . . Waves at Bay. 1 983-84 

Installation, The New Museum of Contemporary 
Art, New York 

Casein and dry pigment on newspaper walls, 
asphalt on copper; steel, string and wax 



75 




39 Bridging Paths .1985 

Metal, casein and dry pigment on canvas, 
96x112x10" 

Courtesy Ruth Siegel Ltd., New York 



76 




40 Passing Stage. 1985 

Metal, casein and dry pigment on canvas, 
113x68x23'/2" 

Courtesy Ruth Siegel Ltd., New York 



77 



REX L A U 



Statement by the artist 



All of my current work comes from an obser- 
vation of nature, in its many moods and con- 
ditions. I hope to bring to this observation my 
personal vision, and to make the best paint- 
ing I can. 

Born in Trenton, New Jersey, February 26, 1 947 
The School of Visual Arts, New York, 1 966-69 
Lives and works in Montauk, New York 



Selected Group Exhibitions 

New Jersey State Museum, Trenton, Art from New 
Jersey, March 18-May 14, 1967 

Anna Leonowens Gallery, Nova Scotia College of Art 
and Design, Halifax, James Lee Byars, Rex Lau, April 
1-3,1969 

Riverside Museum, New York, Five Situations. October 
3-November 10, 1969 

Visual Arts Museum, The School of Visual Arts, New 
York, Unnatural Practices, August 3-30, 1971 

Parsons-Truman Gallery, New York, This Doesn't Look 
Like a Work ot Art, April 20-May 1 5, 1 976 

Truman Gallery, New York, December 13, 1977- 
January7, 1978 

Organization of Independent Artists, New York, 
Constructs, April 15-May30, 1978 

Parsons-Dreyfuss Gallery, New York, Landscape, 
Seascape, Cityscape, December 4-22, 1978 

Harm Bouckaert Gallery, New York, Edward Albee, 
organizer, An Exhibition ot Painting and Sculpture by 
Five Artists Who for Some Dumb Reason Don't Have 
New York Galleries, January 6-31,1 982 

Guild Hall, East Hampton, New York, Artists from The 
Edward F. Albee Foundation, May 30-June 27, 1982. 
Catalogue with text by Edward Albee 

Siegel Contemporary Art, New York, An Installation of 
Recent Works by Jerry Buchanan, David Craven, Rex 
Lau, Sean Scully, March 2-26, 1 983 

Siegel Contemporary Art, New York. Nocturne, 
September 13-October 1, 1983 

The Metropolitan Museum of Art, New York, Selection 
of Recent Acquisitions by the Twentieth-Century Art 
Department, September 15-November 30, 1983 



The Hudson River Museum, Yonkers, New York, New 
Vistas: Contemporary American Landscapes, January 
1 5-March 11,1 984. Catalogue with text by Janice C. 
Oresman. Traveled to Tucson Museum of Art, Arizona, 
April 14-June8 

The Museum of Art, Fort Lauderdale, New Narrative 
Painting: Selections from The Metropolitan Museum of 
Art, February 9-26, 1 984. Catalogue with text by 
William S. Lieberman 

Siegel Contemporary Art at Chicago International Art 
Exposition 1984, Recent Works by Affiliated Artists, 
May 10-15, 1984 Catalogue 

Rahr-West Museum, Manitowoc. Wisconsin, A New 
Look at American Landscape, June 1 7-July 15,1 984. 
Traveled to Frumkm & Struve Gallery, Chicago, 
September 7-October 6; Turman Gallery, Indiana State 
University, Terre Haute, October 1 1 -30 

Ruth Siegel Ltd., New York, Salvo, September 1 1 -29. 
1984 

Museo Rufmo Tamayo, Mexico City, Nueva pmtura 
narrativa: coleccion del Metropolitan Museum of Art, 
Nueva York, November 6, 1984-January 4, 1985. 
Catalogue with text by William S. Lieberman 

Zilkha Gallery, Wesleyan University, Middletown, 
Connecticut, 6 Painters, January 23-March 8, 1985 

Usdan Gallery, Bennington College, Vermont, 
Crossovers: Artists in Two Mediums, March 12-April 4, 
1985 



Selected One-Man Exhibitions 

Parsons-Dreyfuss Gallery, New York, Hobo Signs. 
February 1-19, 1977 

Parsons-Dreyfuss Gallery. New York, Pranks of 
Nature, March 13-31, 1979 
Siegel Contemporary Art, New York, Rex Lau. "The 
Wind Demons" and Other Recent Paintings, 1980- 
1981, January 20-February 13, 1982 

Siegel Contemporary Art at Chicago International Art 
Exposition 1983. Rex Lau, May 19-21 . 1983 
Catalogue 

John Berggruen Gallery, San Francisco, Rex Lau, 
Recent Work, July 14-August 13, 1983 

Siegel Contemporary Art, New York. Rex Lau— 
Paintings, 1981-1983, October 4-22. 1983 

Nina Freudenheim Gallery, Buffalo, Rex Lau— Recent 
Work, March 23-Apnl 24, 1985 



78 



Ruth Siegel Ltd., New York, Rex Lau: Paintings and 
Works on Paper, 1983-1985, April 30-May 18, 1985. 
Catalogue with text by Stephen Westfall 



Selected Bibliography 

David Bourdon, "Eroticism Comes in Many Colors," 
The Village Voice, May 10, 1976, p. 128 

Jill Dunbar, "The Trend from Thinking to Feeling," The 
Wtfager, April 12, 1978, p. 10 

William Zimmer, The Soho Weekly News, March 29, 
1979 

John Russell, "Rex Lau and Roxanne Blanchard," The 
New York Times, February 5, 1982, p. C23 

Barbara Delatiner. "Art Takes Shape at Albee Barn, " 
The New York Times, May 30, 1 982, Long Island edition 

Valentin Tatransky, "Group Show," Arts Magazine, vol. 
56, May 1982, pp. 27-28 

Amei Wallach. "Artworks of Albee's Barn," Newsday, 
June 6. 1982, part II, pp. 4-5 

Phyllis Braff, "From the Studio," The East Hampton 
Star, June 17, 1982, section II, p. 7 

Grace Glueck, "The Met Makes Room for the 
Twentieth Century," The New York Times, September 
18, 1983, section 2, pp. 27. 30 

John Russell, "Rex Lau and Maria Scotti," The New 
York Times, October 14, 1983, p. C23 

Ellen Lee Klein, "Rex Lau," Arts Magazine, vol. 58, 
December 1983, p 37 

Jean E. Feinberg, "Rex Lau," Arts Magazine, vol. 58, 
March 1984, p. 13 

Janice C. Oresman, Chemical Bank: An Art Collection 
in Perspective, New York, 1984, p. 30 

Anthony Bannon, "In Plane Sight," The Buffalo News, 
March 22, 1985, p. 5 

Anthony Bannon. "Lau Captures Natural Beauty in 
Linear Form," The Buffalo News, April 13, 1985, p. A12 



79 




41 December Nights. 1 983 
Oil on Hydro-stone, 26 x 24" 
Collection Chemical Bank, New York 



80 




42 The Wind Demons . 1 984 
Oil on Hydro-stone, 26 x 24" 
Collection Mrs. Joseph Ascher, New York 



81 



















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43 Cape Fear (second version) . 1 984 
Oil on canvas. 72 x 64" 
Courtesy Ruth Siegel Ltd., New York 



82 




44 Untitled Seascape (Large Pink Wave) . 1 984 
Oil on Hydro-stone, 72 x 63" 
Collection Laila and Thurston Twigg-Smith 



83 




45 Petrified Forest (second version). 1 985 
Oil on Hydro-stone, 72 x 63" 
Courtesy Ruth Siegel Ltd., New York 



84 




46 Leaping Without Looking (third version). 1984 
Oil on Hydro-stone, 72 x 63" 
Courtesy Ruth Siegel Ltd , New York 



85 





47 Deep in the Forest /. 1 985 
Oil on Hydro-stone, 26 x 24" 
Private Collection 

48 Deep in the Forest II. 1 985 
Oil on Hydro-stone. 26 x 24" 
Courtesy Ruth Siegel Ltd., New York 



86 




49 Untitled Landscape. 1 985 
Oil on Hydro-stone, 26 x 24" 
Courtesy Ruth Siegel Ltd., New York 



87 



JOAN NELSON 



Statement by the artist 

There are human-constructed places which 
exist seemingly without habitation by living 
things. These insipid monuments to neglect 
are, from inception, built for utility and 
economy only; hence, any embellishment 
becomes superfluous. 

The attractive/repulsive quality of these 
areas beckons my memory to visit them 
again and again. Although I construct these 
images from personal recollection, I feel that 
they are universal, part of a collective 
memory. 

Born in Torrance. California, May 28, 1958 

Washington University, St. Louis, B.F.A., 1981 

Max Beckmann Memorial Scholarship, The Brooklyn 
Museum, New York, 1981-82 

Lives and works in Brooklyn 



Selected Group Exhibitions 

D.D.G., St. Louis, Choice, January 1-31, 1980 

Nature Morte, New York, August Show, August 1 -31 , 
1982 

P-P-O-W, New York, Changing Group Show. July 6- 
29, 1984 

Saidye Bronfman Centre, Montreal, Easf Village at the 
Centre, February 28-Apnl 14, 1985 

Vorpal Gallery, San Francisco, May 1 6-June 1 6, 1 985 

Grace Borgenicht Gallery, New York, Invitational 
Exhibition, May 23-June 21,1 985 

Piccadilly Gallery. London, P-P-O-W: Out of Context, 
June25-July20, 1985 

Jan Baum Gallery, Los Angeles, Minimal 
Representation, July 9-August 24, 1985 



One-Woman Exhibition 

P-P-O-W, New York, January 1 6-February 1 0, 1 985 



Selected Bibliography 

Nicolas Moufarrege, "Group Show: Nature Morte," 
Arts Magazine, vol. 57, October 1982, p. 19 

Vivien Raynor [review], The New York Times, February 
8, 1985, p.C32 

Gary Indiana, "Invitational Exhibition," The Village 
Voice, June 1 1 , 1985. p. 74 



88 




50 Untitled. 1984 

Egg tempera and plaster on Masonite, 22 x 24" 
Collection Sari and Jerry Joseph 



89 




51 Untitled. 1984 

Egg tempera and plaster on Masonite, 40 x 48' V 
Collection Dannheisser Foundation 



90 



52 Untitled. 1984 

Egg tempera and plaster on Masonite, 36 x 48'A" 
Collection Richard Ekstract, New York 



91 




53 Untitled. 1984 

Egg tempera and plaster on Masonite. 48 x 38" 
Courtesy P-P-O-W, New York 



92 




54 Untitled. 1985 

Pigment and wax on hardboard, 1 8'/4 x 1 6" 
Collection Alan Dmsfriend, Boston 



93 




55 Untitled. 1985 

Pigment and wax on hardboard, 20 x 18" 
Private Collection 



94 




56 Untitled. 1985 

Pigment and wax on hardboard, 16x17" 
Private Collection 



95 




57 Untitled. 1985 

Pigment and wax on hardboard, 16% x 19" 
Collection Mr. and Mrs. Raymond D. Nasher 



96 




58 Untitled. 1985 

Pigment and wax on hardboard, 20 x 1 8" 
Collection Caroline and Stephen Adler, New York 



97 



JIM PETERS 



Statement by the artist 

For me painting is running through the 
streets of Manhattan trying to reach Mariel 
Hemingway before she leaves the country... 
or jumping fully clothed into the Seine as 
Jules and Jim talk philosophy.. . or dressing 
Viridiana in an old wedding dress searching 
for what you can not have. 

Born in Syracuse, New York, August 3, 1945 

Trident Scholarship, United States Naval Academy, 
1966-67 

United States Naval Academy, Annapolis, Maryland, 
B.A. (Nuclear Physics), 1967 

Atomic Energy Commission Fellowship, 1967-69 

Massachusetts Institute of Technology, Cambridge, 
M.S. (Nuclear Engineering), 1969 

Teaching Assistant, Mural Painting, College of Art, 
Maryland Institute, Baltimore, 1976-77 

Instructor, Children's Painting, Maryland Institute 
Saturday School for Children, Towson, 1976-77 

College of Art, Maryland Institute, Baltimore, M.F.A. 
(Painting), 1977 

Instructor, Drawing and Painting, Lyman Allyn 
Museum, New London, Connecticut, 1977-82 

Instructor, Children's Art, Expressive Arts Center, 
Norwich, Connecticut, 1 977-82; T.V.C.C.A. (Thames 
Valley Council for Community Action), New London, 
Connecticut, 1982; Provmcetown High School, 
Massachusetts, 1 983; Castle Hill Center for the Arts, 
Truro. Massachusetts, 1984 

Instructor, Painting, Connecticut College, New 
London, Summers 1979, 1981 

Instructor, Art Appreciation Art History, Mohegan 
Community College, Norwich, Connecticut, 1 981 -82 

Hudson D. Walker Fellowship, Fine Arts Work Center, 
Provmcetown, Massachusetts, 1982-83; 1983-84 

Instructor, Castle Hill Center for the Arts, Truro, 
Massachusetts, 1984-85 

Chairman, Visual Committee, Fine Arts Work Center, 
Provmcetown, Massachusetts, May 1985-present 

Lives and works in Provmcetown, Massachusetts 



Selected Group Exhibitions 

The Arts Tower Gallery, Baltimore, Three Figurative 
Painters, October 1 977 

School 33, Baltimore, Arts Tower Artists' Reunion, July 
15-August14, 1979 

College of Art, Maryland Institute, Baltimore, Graduate 
School of Painting M.F.A. Show, April 1980 

New Gallery, New London, Connecticut. Three New 
London Artists, January 1981 

Mohegan Community College, Norwich, Connecticut, 
March 1982 

Marisa del Re Gallery, New York, Ten Fellowship 
Artists, January 1983 

Slater Museum, Norwich, Connecticut, Drawings of 
Seven Connecticut Artists, March 1983 

East End Gallery, Provincetown, Massachusetts, 
Gallery Artists. May 19-31. 1984 

East End Gallery, Provincetown, Massachusetts, New 
Figurative Painting, August 24-September 6, 1 984 

College of Art, Maryland Institute, Baltimore, The Ten 
Year Anniversary Show, January 25-February 22. 
1985 

Brockton Art Museum, Massachusetts, Southern 
Exposure, March 31 -May 1 8, 1 985 

Selected One-Man Exhibitions 

Cummings Art Center. Connecticut College, New 
London, November 1979 

Hudson D. Walker Gallery, Fine Arts Work Center, 
Provincetown, Massachusetts, April 23-30, 1983; 
March 12-19, 1984 

Selected Bibliography 

John Yau, "Ten Fellowship Artists from the Fine Arts 
Work Center in Provincetown," Arts Magazine, vol. 57, 
April 1983, pp. 124-125 

Margaret Ryan, "Association Hangs Colorful Show. " 
The Advocate (Provmcetown, Massachusetts), March 
8, 1984, pp. 4-5 

"Young Artists at Association," The Advocate 
(Provincetown, Massachusetts), May 31, 1984. p. 17 

Mark Muro, "A Place to Create at the End of the 
World," The Boston Globe. September 23, 1984. pp. 
A49-50 

E.J. Kahn III. "85 Faces to Watch in "85." Boston 
Magazine, vol. 77, January 1985, pp. 1 12-121 



98 








59 Decision. 1984 

Plastic, metal and oil paint, 8x8x8" 
Courtesy CDS Gallery, New York 



99 




60 Summer. 1983 

Oil on cardboard, sandpaper and plastic, 
6% x 9</ 4 x 2'/ 2 " 

Courtesy CDS Gallery, New York 



100 










61 Against the Grid. 1 983 

Oil on photograph, wood and Formica, 
20x4iy 2 x3" 

Courtesy CDS Gallery, New York 



101 




62 Night Cottage. 1984 

Oil on canvas, wood, cardboard and glass. 
36 x 34 x 2" 

Courtesy CDS Gallery, New York 



102 




63 Doxology. 1 984 

Oil on wood, tin, canvas and glass, 
78 x 72 x 8" 

Courtesy CDS Gallery, New York 



103 




64 The Gift. 1985 

Oil on wood. tin. plexiglass and canvas, 96 x 96 x 8' 
Courtesy CDS Gallery, New York 



104 




65 Untitled (Reclining Figure) . 1 985 

Oil on wood, tin, plexiglass and canvas, 

68x108x8" 

Courtesy CDS Gallery, New York 



105 




66 The Supplicant. 1 985 

Oil and wax on metal, wood, paper and glass. 

68 x 70 x 2" 

Courtesy CDS Gallery. New York 



106 



IRENE PIJOAN 



Statement by the artist 

As a painter I observe, and connect the 
within to the without. 

Paintings are purposes gone askew; positing 
differs from intent. The making is a vehicle 
for an interminable dialogue between uttered 
and utterer. 

My job is to be fluid, with specificity. An at- 
tempt at finding balance in vertigo. 

Paintings: a bright one born at night, like 
plankton; one the sight of an escape, another 
of an excavation, another one, mulch. In this 
unbandaged march, memory and desire are 
of little bearing. Truth is of the moment only. 

Born in Lausanne, Switzerland, November 1 1 , 1953 

First Prize, California State Annual Exhibition, 
Sacramento, 1977 

University of California, Davis, B.A., 1978 

Scholarship and Purchase Award, Skowhegan School 
of Painting and Sculpture, Maine, 1 979 

Regents' Graduate Fellowship, University of California, 
Davis, 1979-80 

University of California, Davis, M.F.A., 1980 

Travels in Guatemala and Mexico, 1980 

Guest Lecturer, University of Georgia, Athens, 1980- 
81, 1981-82; Wake Forest University, Winston-Salem, 
North Carolina, 1 981 -82; Roswell Museum and Art 
Center, New Mexico, 1982; Humboldt State University, 
California, and California College of Arts and Crafts, 
Oakland, 1985 

Artist in Residence, Ford Foundation Grant, University 
of Georgia, Athens, 1980-81 

Instructor, Drawing and Independent Projects, 
University of Georgia, Cortona, Italy, Summer 1981 

Travels in Switzerland and Italy, 1981 

NEA/SECCA Southeast VII Fellowship Award. 
Winston-Salem, North Carolina, 1981 

Artist in Residence, Roswell Museum and Art Center, 
New Mexico, 1981-82 

Individual Artist Grant, National Endowment for the 
Arts, 1982-83 



Instructor, Painting and Drawing, and Graduate 
Adviser, San Francisco Art Institute, 1 983-present 

Travels in Italy and Greece, 1984 

Lives and works in Rodeo, California 



Selected Group Exhibitions 

Basement Gallery, University of California, Davis, 
installation with Martha Cain, For Ourselves/What It Is, 
May 1-15, 1977 

California State Fair Grounds, Sacramento, California 
State Annual Exhibition, July 1 0-August 20, 1 977. 
Catalogue 

Artists' Contemporary Gallery, Sacramento, Group 
Sculpture, February 4-March 2, 1978 

University of California, Davis, installation with Liz 
Jennings, Rocks, January 1 5-25, 1 980 

Richmond Art Center. California, March 1 -25, 1 980 

The Nelson Gallery, University of California, Davis, 
thesis exhibition, June 7-30, 1 980. Traveled to The 
Gorman Museum, Davis, California, July 7-30 

Lester Gallery, Inverness, California, Gaylen Hansen 
and Irene Pi/oan, September 3-30, 1980 

The Oakland Museum, California, New Affirmations, 
September 16-November 23, 1980 

University of Georgia, Athens, Three Artists in 
Residence, May 3-27, 1 981 

Allan Stone Gallery, New York, Talent, June 2-30, 1981 

University of Georgia, Cortona, Italy, Faculty 
Exhibition, August 3-12, 1981 

Laguna Beach Museum, California, February 2-28, 
1 982. Catalogue with text by John Fitzgibbons 

Southeastern Center for Contemporary Art, Winston- 
Salem, North Carolina, SECCA VII, April 3-May 3, 
1982. Catalogue with text by Lee Hansley. Traveled to 
Greenville County Museum, North Carolina, July 2-27 

Soraban Gallery, Wellfleet, Massachusetts, July 2-27, 
1982 

Emmanuel Walter Gallery, San Francisco Art Institute, 
Works by Faculty, January 19-February 5. 1983 

Gille Mansillon Gallery, Santa Monica. Twelve 
California Artists, May 8-June 3, 1 984 

Wake Forest University, Winston-Salem, North 
Carolina, Rockefeller Retrospective, September 7- 
November 2, 1 984. Catalogue with text by Victor 
Faccinto 



108 



Sheldon Memorial Art Gallery, University of Nebraska, 
Lincoln, San Francisco Bay Area Artists, September 9- 
October 29, 1 984, Catalogue with text by George 
Neubert 

Hearst Art Gallery. St, Mary's College, Moraga, 
California, Sculptural Paintings, January 9-February 
10, 1985 



Selected One-Woman Exhibitions 

Acme Gallery, Sacramento, November 5-30, 1977 

NCD Gallery, Sacramento, July 1 4-August 7, 1 978 

Gallery Paule Anglim, San Francisco, October 6-30, 

1981 

Eason Gallery, Santa Fe, July 1 -30, 1 982 

Roswell Museum and Art Center, New Mexico, 
September 12-October 10, 1982. Catalogue with text 
by Wesley Russnell 

American River College, Sacramento, February 8- 
March3, 1983 

The Quay Gallery, San Francisco, May 1 -June 2, 1 984 

De Saisset Museum, Santa Clara University, 
California, Worksfrom 1981-1982, May 3-31, 1984 



Ed March, San Francisco Examiner, October 10, 1981 

Faith Heller, Wtnston-Salem Journal, April 5, 1982, 
p. 22 

Wendy Wilson, "Irene Pijoan Ceramic Portraits," 
Artlines, August 1982, p. 37 

David Bell, "Santa Fe Notes." Artspace, vol. 6. Fall 
1982, p. 62 

Christopher French, "Unions of Paint and Form," 
Artweek, vol. 15, May 19, 1984. p. 5 

Dorothy Burkhart, "Hot Art for Summer," San Jose 
Mercury News, June 1 , 1 984, p. D1 

Carol Fowler, "Sculptural Paintings Show Aspects of 
Both," Centra Costa Times, January 29, 1 985 

"Sculptural Paintings," Westart, January 25, 1985, p. 4 



Selected Bibliography 

Charles Johnson, "Starting a Cruel Promising," The 
Sacramento Bee, June 13, 1976, p. 53 

Charles Johnson, "A Continuing Non-Tradition," The 
Sacramento Bee, February 20, 1977, p. 57 

Charles Johnson, "Local Sculpture," The Sacramento 
Bee, February 17, 1978, p. 62 

Victoria Dalkey, The Sacramento Bee, July 25, 1978 

Pat Osfeld and Jams Heple, Suttertown News, July 20, 
1978, p. 6 

Victoria Dalkey, The Sacramento Bee, May 1979 

Christopher French, "Richmond Art Center 
Acknowledges U.C.D.," The California Aggie, March 4, 
1980, p. 4 

Del McColm, "Strong Grad Show," Daws Enterprise, 
June 13, 1980, p. 6 

Andy Brumer, "Four Affirmations." Artweek, vol. 1 1 , 
October 1980, p. 12 

Charles Shere, Oakland Tribune, October 12, 1980 



109 




67 House Guest. 1 982 

Encaustic, plaster, oil on stone, 
10x10x7" 

Collection Roswell Museum and Art Center, 
New Mexico 



110 




68 Nameofa Town. 1982 

Encaustic, relief and oil on stone, 
9x10x5" 

Collection Manuel and Kate Nen, Benicia, 
California 



111 





69 Mesopotamia 1984 

Plaster, wax and polystyrene on wood. 
8x 16x2'/2" 

Collection M Etcheverry. San Francisco 

70 Streams. 1984 

Plaster, wax and polystyrene on wood. 

20 x 26 '/ 2 " 

Collection Robert Arneson and Sandra 

Shannonhouse 



112 




71 Glacier. 1984 

Plaster, encaustic and pigment on wood, 
56 x 1 07'/2 x 3" 

Collection of the artist; courtesy Rena Bransten 
Quay Gallery, San Francisco 



113 




72 Ransom Earth. 1985 

Plaster, encaustic and pigment on wood, 

66x88'/ 8 x4" 

Collection of the artist; courtesy Rena Bransten 

Quay Gallery, San Francisco 



114 




73 Church and State . 1 985 

Pastel on distemper on wood, 68 x 85" 
Collection Stephen and Anne Walrod, Berkeley 



115 




74 The Cities on the Ceiling. 1 985 

Pastel, oil and distemper on wood. 

66% x 89 x 2Va" 

Collection of the artist, courtesy Rena Bransten 

Quay Gallery. San Francisco 



116 




75 The Counsel. 1 985 

Plaster, encaustic, oil and pastel on wood, 
78 x 79 x 4'/ 2 " 

Collection of the artist; courtesy Rena Bransten 
Quay Gallery, San Francisco 



117 



118 



PHOTOGRAPHIC CREDITS 



Color 

Larry Berkow: cat. no. 29 

Rameshwar Das: cat. no. 46 

D. James Dee: cat. no. 27 

AN Elai: cat. nos. 60, 64, 65 

M. Lee Fatherree: cat. nos. 71, 74, 75 

David Heald and Myles Aronowitz: cat. nos. 10, 14, 28 

Mark Kloth: cat. no. 33 

Joe Maloney: cat. no. 31 

Robert Reck: cat. no. 67 

Adam Reich: cat. nos. 50, 55, 56 

Earl Ripling: cat. nos. 39, 42, 45, 47, 48 

Norman Sherfield: cat. nos. 34, 36, 38 

Sarah Wells: cat. nos. 2, 7, 8, 18, 19, 22-24 

Sarah Wells; courtesy of The Pennsylvania Academy 

of the Fine Arts: cat. no. 6 

Black and White 

Gregory Benson: cat. nos. 3, 9 

Larry Berkow: cat. nos. 26, 30 

Rameshwar Das: cat. nos 43, 49 

D. James Dee: cat. nos. 17, 25, 35 

Ali Elai: cat. nos. 59, 61-63 

M. Lee Fatherree: cat. nos. 68-70, 72, 73 

Anthony-Peter Gorny: cat. no. 13 

David Heald and Myles Aronowitz: cat. nos. 11, 12, 15 

Ariel Jones: cat. no. 66 

The Metropolitan Museum of Art, New York: cat. no. 16 

Janet Neuhauser: cat. no. 32 

Adam Reich: cat. nos. 51-54, 57, 58 

Earl Ripling: cat. nos. 40, 41 , 44 

Norman Sherfield: cat. no. 37 

Sarah Wells: cat. nos. 1 , 4, 5, 20, 21 



119 



Exhibition 85/7 

4,000 copies of this catalogue, designed by 
Malcolm Grear Designers and typeset by 
Schooley Graphics /Harlan Typographic, have 
been printed by Eastern Press in September 
1985 for the Trustees of The Solomon R. 
Guggenheim Foundation on the occasion 
of the exhibition New Horizons in American 
Art: 1985 Exxon National Exhibition. 



Solomon R Guggenheim Museum Library 




210 



120 



. 



N6512 .D38 1985 

New horizons in American art 

Dennison, Lisa. 

011210 



NSS12 .D38 1985 

New horizons in American art 

Dennison, Lisa 

011210